


Shine On You Crazy Diamond

by Brian_Meow



Category: Comfortably Numb - Pink Floyd (Song), Pink Floyd, Wish You Were Here - Pink Floyd (Song)
Genre: Animorphic, Furry, Gen, beanie babies - Freeform
Language: English
Status: Completed
Published: 2019-10-12
Updated: 2020-02-14
Packaged: 2020-12-09 15:09:33
Rating: General Audiences
Warnings: Graphic Depictions Of Violence, No Archive Warnings Apply
Chapters: 33
Words: 46,328
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/20996846
Author URL: https://archiveofourown.org/users/Brian_Meow/pseuds/Brian_Meow
Summary: Syd the horse finds himself in a strange house and in a strange time. He has no idea where he is, or when he got there. Originating from the mid to late sixties, Syd finds himself in a load of trouble when he time travels to 2009. Will he avoid the crazy lady who is trying to get herself killed by the cops? Will he get caught in the lady's basement?





	1. Chapter 1

**Author's Note:**

> Made some errors here and there. Oops.
> 
> I wanted to write this ASAP. I thought it would make a good beginning to my series.

Begin Scene

We see a horse playing the bass. It is 1967. His bandmates are tuning their instruments. They are preparing for their first concert in America. Pink Floyd is a band originating from England. They are very excited to visit America.

SYD

Ready mates?

We close in on each of the mates. One of the bandmates walks up to him to pat him on the back. Syd smiles as if returning the favor. He continues to play his instrument. There is a general chatter. The manager pops his head into the theatre.

Manager

Five minutes!

Syd begins to relax finally. He has been experiencing brief moments of dissociation for a few days now. His band is finally going on tour in America. If he manages to stay in the present, then he might treat himself to visiting Dearborn Michigan. His thoughts begin to buzz in his head. He couldn’t wait to leave this area. One by one the band picks up their instruments.

SYD is left behind. He picks up the bass and runs down the hallway. Was it just him or did the hallway seem much larger than normal? No. Not now. He keeps running to the hallway. He has to stay in the present. He has to stay in the moment.

SYD

Come on now!

He briefly congratulates himself for not smoking pot. Or taking LSD. He is proud of that one. The exit seems to sway as if he is in a funhouse. It takes all of his might to push through the entrance of the stage. He emerges through the door, sweating manically, finding himself in the backstage. He is seemingly lost in the roar of the crowd. The roar becomes even louder. Offscreen, someone calls his name.

Clyde

SYD!  
`  
Syd looks up. Clyde drags him off to the stage area, cursing at him that he is late. Syd shakes his head and closes his eyes almost as if to pass out.

Interior

A modern-day condo. Syd is passed out on the floor of the basement. He is surrounded by boxes marked with tape. There are old pictures everywhere.

The year is 2009.

Upon opening his eyes, Syd finds that he is in an unfinished basement. There is a commotion upstairs. Before inspecting the basement, he stands up, in clear pain. As he does so, he decides to inspect some of the photographs.

Syd looks at some of the pictures.

SYD

Hmm.

There is a black and white picture of an infant. He finds some more photographs in the basement. He finds an atari and some old hard drives. He picks up the bass.

Syd

Well, there’s something you don’t see every day.

He continues to look around some more. He slings the bass around his back. The commotion upstairs grows louder and louder. He decides that he should keep quiet, and listen to through the thin walls. We hear a woman yell very loudly.

Woman

Don’t touch me!

There are two more men with her.

Man one.

Mam, we think you should calm down.

Woman

Calm down?

She repeats herself.

Woman

Calm down???

Woman

Don’t tell me to calm down!

Man 1

Just put down the revolver….

Woman

No!

Man 2 interrupts.  
Man 2

We don’t mean any harm.

Woman

I’m gonna do it!

There is a small click. Syd does not react to this. He slumps quietly in the basement corner, waiting for it to end. He is about to fall asleep when he hears the soft call of the police siren. He does not know how to react. He is becoming very sleepy.

There is a small shuffle.

Woman

Give me that!!

Man 1

Just calm down.

Woman

Just shoot me already! I want to die!

Man 1

Hank brings out the stretcher.

There is a larger struggle outside of the basement. The shouting grows even louder as it is made to appear that the woman is struggling against law enforcement. She curses very loudly at the two men who do nothing but try to evade shooting her. Syd could only listen to the cry of the woman who gives out a loud screech as she is tied down on a stretcher.

The men do nothing but look on in terror.

The woman

Just kill me! Shoot me already!

The cops do nothing. Syd does not move a single muscle. He crouches in the basement, waiting for a single movement. He dares not utter a single noise as he watches the glare of the ambulance make its way to the front porch. The screaming of the woman grows fainter and fainter. There is a brief moment of utter silence. Syd does not move at all, in fear of being caught. He knows that something is wrong. He keeps his breath still. His heart is racing very rapidly. He knows not to make a large scene. He remains quiet, as the woman's screams are becoming silent.

There is a beat.

SYD searches through several of the boxes. Using a knife cutter he breaks open the tape. There are several certificates in the box. He rummages through them with his hooves. He abandons that box and proceeds to dive into another one. Inside is a bright neon blue t-shirt with the insignia of the University of Florida, class of 2007. Among those is a notice of academic probation, along with a rejection letter from a sorority. Among these are marks of poor grades.

SYD

Brillant.

He briefly removes his bass guitar from his back. He yanks the t-shirt on. Within seconds, he finds himself in a snazzy t-shirt. He looks at his bass. He looks through several more boxes.

He finds another shirt labeled as Saint mother of mary catholic high 1998. He finds a couple of them labeled as the late nineties. He finds a rejection letter from the varsity team among that pile. He discards that one of course. He finds a backpack with pins and labels. No. he needed something more conspicuous.

He notes that the rejection letter seems interesting. The text reads, Dear Daemen, we regret to inform you that you were cut from the team…

SYD

Come on.

He ruffles through the boxes.

SYD

ARGH!

The rejection letter lays on the floor.

SYD

Come on now!

He produces some dressy pants. Finally, some clothes for now...


	2. Comfortably numb

**Summary for the Chapter:**

> John the horse wonders about life.

**Notes for the Chapter:**

> This is chapter two of my series. Pretty self explanatory.

You were an accident

ENTER PROJECT CLYDESDALE, or GASTON

John the brown horse  
MY NAME IS JOHN. I AM A HORSE.

A BEAT. JOHN TAKES A SHARP INHALE. HE PUTS HIS HOOVES IN FRONT OF HIS SNOUT. HE IS SITTING IN FRONT OF THE LAUNDRY DETERGENT. A ZEBRA WALKS UP TO HIM. SHE SITS DOWN NEXT TO JOHN.

ZEBRA  
DRINKING THE DETERGENT WON’T MAKE HER GO AWAY JOHN.

JOHN

BUT I WANT HER TO GO AWAY.

ZEBRA

MMM.

SHE LOOKS AT THE DETERGENT. SHE READS OVER THE LABEL. SHE PUTS IT DOWN, MUTTERING UNDER HER BREATH. JOHN TRIES TO GRAB THE DETERGENT BUT THE ZEBRA MAKES SURE IT REMAINS OUT OF HIS REACH.

JOHN

AWW.

JOHN ATTEMPTS TO GRAB THE LAUNDRY DETERGENT. THE ZEBRA PREVENTS HIM FROM DOING SO WITH HER HOOF.

ZEBRA

YOU HAVE SO MUCH POTENTIAL, YOU KNOW THAT RIGHT?

JOHN SITS THERE SULLENLY, IN HIS SCRUBS. HE GIVES A SILENT SWEAR AS HE EXAMINES THE LAUNDRY DETERGENT. HE SWIPES THE LAUNDRY DETERGENT AS SOON AS THE ZEBRA ISN’T LOOKING. HE GRIPS THE LID OPEN. AS SOON AS HE IS ABOUT TO SIP, THE ZEBRA SPEAKS.

ZEBRA

THIS WON’T HELP YOUR CAUSE YOU KNOW.

JOHN

AWW COME ON! I'm DEPRESSED NOW!

ZEBRA  
OFFING YOURSELF WON’T MAKE THAT MEAN LADY GO AWAY.

JOHN

I JUST WANT TO STOP TRANSFORMING INTO HER.

ZEBRA

WHAT NOW?

JOHN BRIEFLY CONSIDERS SWALLOWING THE LAUNDRY DETERGENT. HE GIVES THE ZEBRA A BRIEF GLANCE BEFORE HE PUTS THE JUG DOWN.

JOHN

I… JUST… WANT… TO… STOP…. TRANNNNS----FOOOORMING…. INTO. THAT… MEAN… THIRTY-EIGHT…. YEEEEAAARRRR…. OLD… WOOOMANNN…..

ZEBRA

AH.

Zebra  
Have you tried writing out your emotions in the form of a story?

A BEAT.

We see john the horse try to type out a story. He mutters phrases such as Michigan, catholicism, and the 1990s. Damien walks up to him.

Daemen

What are you writing?

John

A book.

Daemen

Oh?

John tries not to stare daggers into Daemen. Daemen slams her draft of the story down.

Daemen

Who are your characters?

John

Each of the characters represents something in the antagonist's life. We have a police officer…

Daemen cuts him off.

Daemen

You can’t write about Catholics.

John

Why not?

Daemen

Because all Catholics are oppressive uneducated bullies.

John

(softly, so that no one can hear him)

I’m catholic..

Daemen

Besides, coming from a catholic private school, I was bullied extensively. Have you heard a fifth grader call another queer for no reason at all?

John  
…….

Daemen continues talking.

John

Technically, you are queer.

Daemen

I know, right?

John looks at the draft of the paper on his desk. He slowly looks at the huge drafts of the paper. It seems very overwhelming. He gives a large comedic gulp. No one notices it but it seems like his heart is beating very loudly in his throat. He gives a thick swallow. Daemen does not realize it, but John was raised by catholic grandparents. He technically is not baptized Catholic, but he is allowed to sit at the pews. His grandparents and his parents have gone through some bit of conflict, but they have forgiven each other. It seems as though forgiveness is not in Daimens vocabulary.

Daemen

And the cop needs to go.

John  
What?

Daemen

Cops are oppressive to the system. They don’t respond well to the autistic or the mentally ill…

John

(softly so that he is barely heard)

My aunt is a cop, you dignus.

Daemen

So unless you want the system to look good, then I suggest that you write the cop as someone else.

John

( I just want to write my cop with ax hands, is that so hard to do?)

Daemen

Besides they need more education on how to treat the mentally ill, and the demonically possessed.

John the horse

how hard is it to write a horse-cop with ax-hands? Cheese and rice Daemen, how long is your arrest record?

Daemen

I didn’t get arrested. I got tied down on a stretcher which is traumatic enough. Then I went to the hospital.

John the horse

This brings us to our next character….

Daemen cuts him off.

Daemen

Of course, by going to the mental hospital, I was trapped for 72 hours under a suicide watch, and I was unable to write, draw or do anything with anything sharp. There was a horse who felt the need to mutter to himself back and forth.

John the horse

….The mystical horse undergoing a psychotic episode…..

Daemen

Regardless, the police are oppressive enemies. They don’t respond well to people who claim to be suicidal.

A beat.

John the horse

You know I tried that trick once.

Daemen interrupts.

Daemen

It isn’t a trick. People who want to kill themselves usually say “I want to kill myself”.

John the horse interrupts her.

John the horse

Do you know what my mother did when she heard that?

Cont.

John the horse

She slapped me. For mocking her deceased brother, she told me it was as if mocking her trauma. She told me she’d call the cops in between tears.

Daemen says nothing.

John the horse

Do you have any idea what it was like for my maternal grandfather to watch his son slumped over in the garage?

Daemen

Stop.

John the horse

Do you have any idea about the trauma that was caused by my family? The rift between my mother and her father? The years of preventing suicide that I HAD TO PARTICIPATE IN EVER SINCE I WAS NINE YEARS OLD.

Daemen

I wish it wasn’t being stereotyped as abusive behavior.

John the horse

I wish you knew it is emotionally taxing behavior. I wish I could unlearn this ‘behavior’, this virus coursing through my veins. Will I lose myself in twenty years? Will I become better. I wish there was a spell, a potion to rid me of you.

John the horse takes a deep breathe, as he is on the verge of a panic attack.

John the horse  
I wish I could be myself again. Warts and all.


	3. Do they know it's christmas?

**Summary for the Chapter:**

> An original script based on the adventures of a couple of animals. Syd makes an appearance. Depression, self-harm, and suicide are mentioned. Also, we get a deep look into Daemons' past.

December 25th, 2014

We see John the horse's roommates in the living room. Do they know it’s Christmas? Is playing in the background. No one is smiling. It is a grim moment as one of their members as nearly fallen. Syd the horse looks at his watch. Ringo looks at the clock. Everyone is watching the time.

The radio

Christmas time...

There are medics are waiting outside the door.

Daemen

( is asleep)

The astrophysicist appears in the room. It is unusually dark. He does not turn on the light. He thinks it is best to be quiet.

The astrophysicist makes an audible swallow.

The radio

Don’t be afraid...

The astrophysicist is very afraid. He doesn’t want to be the one who has to wake up John the horse. His eyes are wide as he surveys the rest of the room. The room is very dark. The astrophysicist, who happens to be a large fox could not help but notice that his paws are shaking very violently. Without thinking, he snatches a blue notebook. He doesn’t think too much of it. He begins to rush up the stairs cursing himself for even trying in the first place. He should have known better than to try to disturb John-the-horse while he was sleeping. In his red paws is the 180-page notebook. He knew this notebook fairly well. He had bought it on August 20th, the first day the cloning procedures had begun.

What could be in this notebook anyway? It couldn’t be that important, could it?

The radio

We let in the light in…

It did have something important in it.

August 20th, 2014

Freaky. I’m alive and well. One moment, you are in the nonexistent void known as space, and you’re in this wonderful place called earth.  
All I remember is waking up on a bed soaking with whatever they call it. Water? I hope it is water. It better not be different bodily fluids like sea stuff. Or men of the sea.  
I must have made a commotion because when I came to, the basement was destroyed. Oops. They said it was covered in broken glass, and spider webs? Odd description but it’s what they said. They didn’t speak of it any further.  
I spent the entire day learning about what happened in the past 50 years. I asked questions of course. What was going on? I had a hard time picking up on what they were saying. It seemed like a massive blur.

August 25th, 2014

I started a blog about being a clone. Here I am! Haha, I exist now.

It still seems like no time has passed at all. I’m trying to figure it all out. 1978 was all so maddening, with all of the drugs, and procreative sex. Today, I learned that I ferociously avoided dying a fast and easy death with all of the questionable activities I did in my late teens.

Everything seems like it’s changing so fast. People are even more paranoid, with the onset of the terror attacks. I’ve noticed that people are even less satisfied with their lives. Like their lives are going by like a bullet train.

It’s a nice day out, I can tell you that. There are various violet bluebells outside. The breeze is a gentle warm glow. There is a light sunbeam shooting out of my window. I smile at the warm sunbeam in my room. I enjoy placing myself under the warm sunbeam. I’m in a great mood.

Got to pay off my bills. Did my laundry which is something I feared would be sitting in a pile. I am doing well as a functional adult. Screw you guys, I’m having the time of my life. I’m having the time of my life.

The astrophysicist's notes

The funny thing is that while Daemen had been speaking about struggling with depression, I felt as if there had been a giant rock on my back. I felt like it was just growing and getting larger ever since I was in my preteens. Like everything was this major rock on my back.

The rock was just a pebble when I was 12. The rock grew to the size of a brick by the time I was fourteen. I guess I’m used to being told how I make people uncomfortable, which didn’t help the size of the rock. I guess my self-esteem was just that low. I tried taking care of it over the winter break. My mother intervened, and that's how I couldn’t be trusted with string anymore.

Then there was the eighth grade. I didn’t get the part of Veruca salt in charlie and the chocolate factory. Do you think getting cut from the dance recital in the eighth grade was bad Daemen?

Try finding out that you didn’t even make it for the spring musical. You didn’t practice hard enough, and you took singing lessons in the second grade. You think to yourself that surely, there was something wrong with your voice, that you didn’t make the part because the boy with the massive afro was a major distraction. You think to yourself that boy looks cute, that you won’t even make it with him.

Surely, there was a mistake, right?

Or how about that play with Aladdin? You tried and you tried, and yet you still didn’t make that part.

Trust me, I know how the world worked when I knew I didn’t fit into a clique. I just didn’t click with people. I didn’t click with the fact there was a blond girl who gave me strange looks and treated me as if I were some sort of disease.

You didn’t think about offing yourself. Not then. Not now. If you just hold on for one more year, you think to yourself, while sitting in the bathroom of the middle school cafeteria, you could make it. If you live through the eighth grade then you would be ok. If you good just hide the ticking time bomb in your head, then you could survive for one more year.

You're pretty good about hiding the jaw marks on your forearm. Just wear the bitemarks with several bracelets. Just bite and release on your arm. The bite marks will be visible for a day, and you just need to wait a full 24 hours for it to fade away. You flinch every time you accidentally brush your arm because oh god it hurts so much, but you don’t have an addiction. Right?

Your just a sponge that takes all of the people's problems, and absorbs them. You absorb the fact that you are surrounded by people who are just as angry, and you are the mat in which they walk. You are the mat in which everyone walks on to you. There are periods, in which you feel so tired, but it's also pleasing. You are the animal that has to hibernate in the winter. You are the fox the has to hide in the hole, every winter. You curl up in the hole in which is your safety hole.

You’ve heard of hibernation before. From November to march you hide in your safety hole.

Then sophomore year comes around. My mother had just miscarried the previous day. I didn’t think about it too much. I switched from being upset to being surprisingly calm.

Then there’s an announcement on the intercom. I didn’t hear the details correctly, but a student had been found dead in his closet. Everyone cries for the entire day. I didn’t get a chance to speak to the counselor because everyone was speaking about how cool he was when he died.

Maybe if I die, they won’t make fun of me anymore. If I wiped myself off the face off the earth, they won’t prank me for being so stupid. Maybe they’ll talk to me like a normal animal. Maybe I won’t be so tired, once I got enough sleep. Things will change, I hope they will change. If I just acted normal for once, then they won’t tease me.

I just want the feeling of being normal. I wish I just wasn’t an intelligent fox. I wish I was someone else. Why did it have to be me? Why on earth did God choose me to be the scapegoat for everybody?

There was a student assembly, on being kind. Ha, what Bullshit. The student body has never liked me. They never will like me for having a social awkwardness. I know because the week after that, some girls decided to gang up on me for not speaking enough. They thought it was funny to prank call me as a secret lover.

I know the plan about how the school dealt with suicide. There were tears, and crying, and weeping. Then it was like it never happened. Of course, I kept trying but trying is never good enough.

\----------------------------------------------------------------------------------------------------------------------

August 30th, 2014

Got a weird look. Today.

The first time I got bullied was when I was in kindergarten. I had no idea what it took, but all I said was that I like your appearance. The girl made fun of me up until the eighth grade. We did understand each other after playing a bit of tennis. In the eighth grade, I made the final fantasy fanfic and made her the villain.

For the first time in my life, I was bullied. Demonic possession is brought on by trauma. It took years for me to understand this trauma. I’ve never trusted people because I’m used to BEING TREATED LIKE THIS FOR MY ENTIRE LIFE.

I’m sick of being used and abused all my life.  
__---------------------------------------------------------------------------------------------------------------

August 31st

One of my traumas was being told how unpopular I was in the fifth grade. A friend of mine stopped hanging out with me.

She later told me how fat, and ugly I was. In Front of the fifth-grade classroom in Dearborn village. It was the first time I had been called queer.

I guess I had been showing autistic-type symptoms.

\-------------------------------------------------------------------------------------------------

September 1st. 2014

The catastrophist

(narrating over the entries)

I guess I’ve always wanted to kick Daimens ass for quite a while. I think I just hated her after she made a major deal of being depressed. Hell, thinking about it makes me very agitated.

The keyword agitated. I’m highly irritated. I don’t like people. Think about when Cartman and Wendy got into a fight over breast cancer. I feel like I want to punch her sometimes. But what's the point of punching her? Everyone loves her so much. They love the fact she’s in so much pain.

The astrophysicist.

In reality, she’s a bully. She’s the person in the wrong.

The astrophysicist turns his head. Someone is calling his name.

The astrophysicist

Coming!

We see Daemen sobbing with Roger Gilmour. Roger Gilmour is comforting Daemen, who appears to be a major tarantula. The tarantula is heaving and sobbing quite greatly.

Tarantula

Wah!

The tarantula begins to rub each of his eyes with its forearms.

The astrophysicist responds with an “oh duck me, this is going to be a very long winter break”.He shakes his mane. The red fox gives a mild scowl as he walks over to the tarantula. The astrophysicist groans to himself and places a paw on his knee.

Tarantula

I nearly ended my life last night.

The astrophysicist

Daemen, this has been the fifth time since you said you were going to end your life.

Daemen

Are you insinuating that I end my life?

This earned him a glare from Roger Gilmour. The astrophysicist begins to answer with a questionable no?

September 5th, 2014

The astrophysicist,

I’m tired.

A beat.

He thinks for a moment. Could I be experiencing depression? He wonders to himself. Would that explain why he felt like there was no hope at all?

The astrophysicist

What's the point? Daemen is going to be highly successful with her book. She’s going to be successful and famous. And… and...

He pauses for a moment. A brief visual pops into his mind. Daemen and Brian Meow are doing the nasty.

The astrophysicist

Wait, isn’t Daemen asexual?

Daemen looks up from the bed. She and Brian Meow are busy with fornication. Brian Meow reaches out with his hands.

Daemen

It turns out I just like men who are sweet, and kind… and submissive.  
End scene.

**Notes for the Chapter:**

> Not bad. I spent the entire day working on this.


	4. A camel in michigan

**Summary for the Chapter:**

> A camel discusses his life outside of Iran.

In 1991, I had moved to god-knows-where Michigan. Camels don’t settle well in Michigan. In Fact, it’s unbearably cold in Michigan. I was 10 when I moved to Michigan, which is fantastic. My parents insisted on leaving our home in Turkey to go to the world's largest icebox (our apartment) in the United States of America.   
The first day, I hated it. I hated the fact that I had to move out of school so suddenly. I hated the fact that we were forced to stand up to some foreign pledge. Why were we forced to pledge allegiance to the united states of America?   
Then I met my first bully. I don’t remember what happened, but apparently, I was the cause? Was I the perpetrator? Did I do something wrong?

All I remember was that she was blubbering that I called her fat. That I pushed her? She called me a butthole and continued to cry even more. That word, butthole. I walked away from that situation. I ignored her crying. I tuned her out of my head. I tried to ignore the situation. 

Of course, she tattled. I got a mild scolding, but the teachers left me alone. Great times, of course. Why did I have to get myself in so much trouble again? I ask myself, trying to tearfully beg my teacher to not call my parents. 

Then lunch came. 

There was such a commotion. One of the students had dropped my tormentors skirt to the ground. She made a hideous wallop as she wandered down the hallway. Of course, I laughed my rear off. For a good majority of my life, I had been living in a war-torn area. I had to live with the bombs and explosions that rattled my house’s structure. My house nearly collapsed to the ground. I had to listen to my parents argue and scream about the war in Iran. I had to watch my brothers and sisters collapse to the ground, sick to their stomachs. I had to watch my brothers near death, suffer for a reason in which I could not control. My poor brothers came in, having starved to near death. getting your skirt pulled down revealing your white ass cheeks, is nothing compared to the constant hum of the falling bomb in the Mideast. 

I snigger at the pain you’ve brought among us.


	5. Author rambling

**Summary for the Chapter:**

> A character rambles about her life. We are introduced to terry, a gay dog. Maybe he is gay, maybe he isn't.

late summer 2014 to spring 2015  
My mother got married to my stepfather on June 27th, 2015. 

I was an incoming sophomore at this time. During this period, my parents took me on a road trip around the continental USA. 

There was supposed to be a big battle in which Brian, John, Roger, and Freddie are “born”.

It would have been extremely fascinating to watch from a visual standpoint. 

Yet in the beginning, I quit drawing. I do this quite a bit. I suspect this is something that happens as a result of my executive functioning, but I snapped out of it quite a bit. I notice that I find an excuse to refuse to draw, even when the situation requires it, such as animating. 

One of my missed chances was drawing a soapbox Sadie who was very “body-positive, left-wing, very vegan, pro-choice, and loves all animals”. ( In one of the panels Daemen, who hates all men loudly proclaims “do you have any idea how much I hate anime?”) She proceeds to turn Roger into an alligator out of pure spite. The group reasonably panics after watching their mate turn into an alligator. It is implied that Daemen is rather extreme with her methods. It is unknown why she would turn a man into an alligator, but then again she considers all men to be the result of the patriarchy who also happens to cause menstruation. Curse anyone without ovaries but also bless them because NOT all males are the scum of the earth. 

To explain the hating anime line, I started to draw during class. My soapbox Sadie ( neurotypical) noticed that I was drawing in class. She told me that “apparently that was ‘Unexpected behavior’ and I needed to stop drawing because I looked bored and that was disrespectful to the teacher.” Wow. I thought I was being sneaky by scribbling in my notebooks. I wish I hadn’t drawn large images. The thing is I need to scribble down doodles to remember phrases. 

Blondie inquired, Daemen are you high?

Daemen scoffed, “Of couuuuuuuurse not.” Her eyes are just naturally red and puffy. 

Luigi's head smiled gently, Surely you jest?

Daemen was high. Her eyes were a gentle brown

“I think Roger got turned into an alligator because he called Daemen Fat.” 

Yeah, apparently according to neurotypicals, fat is a very bad word.” I add. 

For the teenager, being called fat is the equivalent of chopping their head off. How dare I call someone fat? It's not like your being socially ostracized or anything. It's not like you’ve been to like one party in a year. No being called fat is like the worst thing to happen ever. No fat is the swear word that cannot be repeated. It's not like someone used the R-word, no being called fat is an oppressive word. Just like calling someone stupid. For whatever reason, it warranted a sharp scolding. BECAUSE CALLING SOMEONE FAT IS CONSIDERED OPPRESSIVE TO THE NEUROTYPICAL. 

There is a sharp yell. There is a sharp smash as mirror cracks. One of the teenagers smashes the mirror over and over again. Three men look on in horror frozen in horror. 

FUCK YOUR MENTAL ILLNESS!! FUCK YOU!!! PEOPLE LIKE YOU TEAR MY FAMILY APART! There is more smashing of the mirror. The shards of the mirror are cracked as the protagonist smashes the mirror even harder. Her reflection is crooked. There is a collective scream as she smashes the mirror even harder. PEOPLE LIKE YOU ABUSE MEN! SCREW YOU!!! YOU NEVER KNEW ME! She smashes the mirror into tiny bits. I DON’T CARE WHAT YOU FEAR, I HATE YOU! The tiny shards hide under her heel. 

In one of the sequences, the lights are supposed to go off. This is intended for the characters to rely on a touch more than sight. I think if I separated the panels, this would have taught me to rely on visuals rather than dialogue. Anyway, it is a very dark sequence. No one has an idea of what to do. It is a very intense sequence that requires a sense of touch. 

There are possessed laughter that bangs down the hallway. Both Musicians look down the hallway. It is a very tiny hallway that leads to outside. It is as if it was made out of the room. The lights being off would set off some form of suspense. Like It would be like a primal fear. What would happen if the lights were off? 

During this sequence, both musicians begin to run. There is shouting. Mostly commotion coming from both sides. There is thumping from one side. People are running into each other. People are scrambling down the hallway to find the source of the possessed laughter. Almost as if there is nothing there. 

Then the laughter starts up again. the laughter begins to grow louder, in intensity. 

The setting for the battle, of course, is a wedding.

Freddie is supposed to get married to Daemen, (who would have left him for a woman). It was heavily implied that Daemen is a lesbian or at least bisexual. I had fully intended her to be a lesbian for whatever reason. Freddie was of course gay. ( I think he was bi)

I’m not sure how I felt about my parents remarrying. I was excited of course, but I was also pretty terrified. My father remarried when I was in the eighth grade. ( We’ll get to that in a bit) to a local office worker. My childhood friend was now technically my stepsister. I had hung out with her as a small child. 

I had no idea how to feel about my parents remarrying. I felt naturally a little jealous, as I didn’t understand why my life was changing so quickly. I didn’t know how to feel to be quite honest. 

Everybody has a tragedy. Mine happened to be my parent's divorce. I never understood why people were all like yeah my parents didn’t pay attention to me, and this is my dramatic backstory, or what you call it. No, having divorced parents was the worst thing. Just kidding. I think. 

Looking back on it, I think I lucked out. My father would take me on one trip to Washington DC. I was 12 when I went to Washington DC with my father and my grandmother and my brother. We traveled by train. I never told anyone what happened. I’ve heard other people speak up about going to Washington DC when they were in Middle School. Like the horror story of “having your hand put in the bowl” and “Peeing your bed because some middle school boys put a said to hand in the bowl”. 

My mother refused to let me go to Washington DC because I had a sensory overload or something. She didn’t trust me going out of state. I thought not going to Washington DC was the worst thing in the world. However, I think I merely dodged a bullet by being held back. 

The trip to Washington was spent visiting cousins from my father's side. My cousins were all nice. I got to sleep in a 19th-century house that was slowly falling apart. Due to developmental delays, I still bought plush animals. I consider myself to be somewhat of a collector, as I bought plush items as it was nothing. I believe this was when I started to collect Garfield comics as well. My addiction to reading Garfield comics started when I went to Washington dc. Even though the stories grew formatalic, I enjoyed the beginning of the series. 

I missed a couple of arcs. One arc involved Justin Beiber kidnapping me. This was after the daimen battle. As far as I’m concerned, Justin Beiber went through a born again experience and is currently getting married to Hailey Baldwin. I would have been on an airplane. The truth is that I have never been on an airplane, except going to Boston, and Kentucky. The trip to Boston was a trip taken a month before cloning mis_adventures was created.

As for going to Disney, I had not gone to Disney. It was too expensive for me to go. Going to Disney would have cost like 300 hundred just to go. However, I ended up going to Disney in my junior year. My father brought along his stepmother and stepchildren, which ended up growing on me. I eventually learned how to accept my father had gotten remarried. 

I had gotten quite envious of a peer of mine who had been able to go to Disney. I ended up making a few mistakes with the placement of the park. However, I did get some of the details of the park correct. For example, I found myself having a sensory overload in the park, not because of screaming fangirls, but because of screaming children. Turns out having a sensory overload in the line of WDW causes dissociation. Sometimes, I will get the sensation my body is melting, or that I’m floating, or that I’m not here. 

Also, WDW is quite warm and big. Which causes me to act all bent out of shape sometimes. 

image  
Now we have four more (possible lab experiment) clones. Not only do we have to take care of them, but we have to keep them hidden from sight. Tip: their lives get spared if they do some dirty work. Courtesy of my little brother, they do the job (not gonna say what it was).

My younger brother said if I wanted to keep the clones as a character, I would have to kill off Justin Beiber in the story. 

I had to do what I had to do. 

An interesting note, one of the minor characters was a possessive fan of Justin Beiber. Her role was to yell at us to leave him alone. Well, I got into college, and one of the friends I made would yell at me to leave her friend alone. It made social outings very uncomfortable. My friend made it very clear I could not date her friend, even though I was developing weird feelings towards her friend. He seemed nice enough, and he seemed charming, but that friend made it clear that I could not express those feelings towards that peer because she was dating him. I suspect these unwanted feelings of lust, contributed to my issues with executive functioning. 

So life imitates art?

After this massive battle, the group finds themselves in the basement of midwestern Illinois.  
There are five adults. Realistically speaking, the first thing any logical adult would do is bolt out of the basement. No logical adult would be able to stay in the basement with two teenagers. Let me refix that statement. 

A young teenage girl rushes down the stairs and demands that I clone a fully grown adult to take her to the prom. 

Which wouldn’t be so bad if there weren’t any unfortunate implications whatsoever?

The teenage girl demands a fully grown man to be her date. 

I cannot help but snicker at this error. 

Technically, In Illinois, the age of consent is about 18. It would look completely out of place for a high school junior to date a fully grown 24ish man. Or at the very least take him to prom. 

However…

Some people call it problematic. Yet, I must bring up that I had quite a few men asking me out before I turned 18. Plus I didn’t have a date for the prom. For the men in question, it wasn’t a date as it was more of supervised visits with my parents watching. Yet hilarity ensued as males would ask my parents out on a date, and tag me on posts asking me if I could go on a date with them, which was mortifying as it was. 

For some people, it was “men who wanted to control poor innocent autistic minors.” I, however, was ok with this type of thing. Sure it didn’t last long, but it was fun while it lasted. 

The teenage girl retorts with, “I’ll pay you”. I see dollar signs because of let's face it, I’m broke. I begin to mutter, “Ok.” Where do you want the clone The girl is like, sorry, I would like a ( insert clones name)

My response is, Ok, but don’t be disappointed when he turns you down.

The shallow teenager replies with, What?

I respond with, Ok, listen, honey, the clone in question is kind of questioning his sexuality. The teenager responds with, omg, I’ll just dance with him. 

r/entitlement, much?

By the way, how would this impact the relationship of the scientist/ clone? No adult would want to take orders from two teenagers respectively. In fact, how would the entire world react to four guys that speak a very distinct accent? Why did I not focus on this type of relationship?

So cue the montage music. Daemen did not move as I dragged the refrigerator/ cloning printer out of the storage area. 

She glared at me as I began to look through the files. What are you doing? She asked in irritation. 

I shoot her an annoyed look. 

I’m working, do you mind?

She shook her head in annoyance. “This better not take long or else I will take my business elsewhere. 

When a clone gets born, there is this moment of intense panic as he or she walks out of the machine. You wake up in some strange basement. One minute its like 1969, and your college student who just happens to be studying astronomy.

BUUUUT NOOOOO  
We have to focus on shipping Material because lol, Brian is in love with John. Lennon, not Deacon because that would be BE logical.

We can’t focus on the fact there are four adults trapped in the basement in a midwestern town. Screw that noise. No, the most important thing is the fact that Brian is in love with John Lennon, for cripes sake. 

“there's an arc in which one of the characters removes her shirt. I realize that I could not show FEMALE NIPPLES because nipples are sexual” 

However, Male nipples are fine because of double standards. As my peer would later point out in a school newspaper, the males didn’t get in trouble when they were wearing gymnastic clothing. 

Yet when the females wear *gasp* crop tops, they get in trouble for causing the “male gaze” I had gotten in trouble for violating the school code a few years prior, for wearing a Beatles crop top that exposed my shoulder. I was all like fine, I don’t care about the rules. Still, I had to pull up my shirt to prevent myself from getting into further trouble. 

I don’t care about the rule itself, or the implications of the rule. As I point out in later issues, people tend to get angry over a lot of stuff. I would wear a lot of ( now uncomfortable clothing) such as revealing sweaters. I don’t understand why people get so upset over children wearing crop tops. I mean we wore crop tops and we’re upset that it's not fair to wear crop tops because it’s sexualizing us, but when children are wearing the same things we wore as preteens or teens we get upset at the media/ patriarchy for sexualizing young children. 

There's a popular cartoon called Brace Face in which the protagonist wears a crop top. Yet, there's a cartoon where preteen characters where crop-tops like nothing. Perhaps we’re looking at things with the jaded lens. 

Is our job done yet? I mean we defeated a monster and we have four more clones to raise. So I can blast “We are the champions at full volume”?

This took three whole notebooks. I went on a cross country trip during this period. Yeah. I’m slightly spoiled. My soundtrack contained The greatest hits of Queen, and Pink Floyd, the wall. In a moment of utter stupidity, I forgot to buy the entire album of “The Wall.” To make matters worse, I bought only three songs, which was Another brick in the wall part one, part two and part three. Which wouldn’t be so bad if it wasn’t a CONCEPT ALBUM? Most of the songs on the album are intertwined. The albums are a treat to listen to once you listen to the story it is trying to tell. 

Originally there was going to be an arc in which my brother and I in the story had to do three chores to save John. One of which was to go to the Gravity Falls universe, and defeat Bill cipher by shrinking him down and intrapping him in a peanut butter jar. This of course was written before the Weirdmaggedon trilogy aired on television.   
Rapping and possession occur. I trap Bill Cipher in a peanut butter jar. 

These arcs took at least three months to complete. 

One of the rejected arcs revolves around a pizza place with haunted animatronics. If you are asking if this sounds familiar, yes it’s based off (*cough* *Cough* ripped off) Five Nights at Freddie's. My brother loved that game, but I, of course, was terrified of that game. My taste in horror was mostly tame. However, one moment of Progress showed that my taste in horror was less than tame as I ended up watching movies like IT part one, and MANDY. Mandy is a psychological horror movie I watched during my freshman year of college. It's about these young twenty-somethings that find themselves in the middle of a ritualistic occult meeting. 

To say the least, I had no idea how to write horror. What are the stakes of writing horror? I can write thrillers, but I can not write horror. When I was a freshman in college, I did participate in a horror movie where my character ended up nearly getting stabbed, but as a freshman in high school, I did not have a single clue how to write horror movies. I would watch movies such as Christine, not Christine chandler, Christine the demonic 1952 car that killed unsuspecting young teenagers via hamburger helper. Of course, there's a wedding before the may arc. a recurring theme I guess? Or is it a case of bad writing?

So basically what happened is that my brother and I fall from heaven, ( religious symbolism?) and make a run for it.

We run into the folks from Larry Blotter, who seem nice. (Get it? A parody of harry potter?) 

Even more, shenanigans ensue. 

Before we meet Larry Blotter there was an arc that I remember writing that I cringe about to this day. As I take a deep inhale, I want to remind you that to this day, I had no idea what was happening at the time. Of course, no one did.

One of the arcs in question dealt with Sexual Harassment.  
Of course, I was a freshman with HFA who happened to be a double bassist.

Neurotypicals assumed I was unable to understand what phrases like Sexual Harassment meant and other phrases too such as fat positivity. Unfortunately, I happen to have a habit of obsessively reading CNN at lunch hour. Which made me concerned about the world-changing constantly. I happen to be interested in current events, and maybe I did want to learn about our world. 

Sexual harassment was something that I thought was a great topic to write about. I think people should be more educated about the consequences of sexual harassment and sexual assault. 

I have this rule of thumb, nine times out of ten if someone gets accused of sexual assault, they did it. Maybe that's how my brain works. My brain has a hard time with black and white thinking. 

Maybe I’m right. 

While I was writing this, I did not have much experience with PEOPLE. I did not go out with people very much. I don't date people very much. I did not know how to date people or very much flirt with people, if I did, it was considered inappropriate or at the wrong time. 

Which reminds me of something. 

During a short period of not screwing around on the internet, a colleague and I had been conversing about a girl who had accused her boyfriend of sexual assault. She had decided it would be a great opportunity to inform me that she had been kicked out of class. Did I inquire why?

She replied with utter pride, “She’s accusing my other colleague of sexual assault.” 

I was intrigued by her comment. 

I should have been livid of course. I tried to educate myself on people who thought me to the movement was composed of fake allegations. Yet what it came down to was that the women were, of course, lying about the allegations for attention.

She gave me a grin as she told me how men were of course falsely accused of sexual assault. How men often were victims rather than the accusers. I felt this urge to throw her out of the window. 

I understood a portion ( maybe a small portion) of men and LGBT members were sexually assaulted. My stepfather had been abused. Yet, here you are taking the initiative that women can make up false allegations, and make it into a huge problem? Isn’t that kind of weird?  
Louise  
Alright! New job!

Terry  
Wait till I surprise my missus at home!

Glaticus

(astonished)

Do you have a missus? 

Terry

Sure do!

Almost as if to dance, he begins to stretch out a bit. He gives an excited grin as he begins to speak of his girlfriend. 

Terry  
(crossing his legs)  
Well my dears, my missus is one of a kind girlfriend. 

Louise gave a mild scowl as if to mockingly act disappointed. 

Terry   
What?  
NIGHT ONE: neurotic  
Terry  
Well my dears, let’s start looking at the camera.

Louise 

The camera looks fine.

Glaticus

Wait, what's on the other camera?

Louise peers at the camera. There appears to be a small blob dashing in the corner of the room. An image of a robotic fox flash, Louise jumps. She has become quite pale. Her heart is beating quite terribly. 

Louise

What was that? 

Terry

Dear, that was a jumpscare. 

Louise

Jumpscare? 

Terry

Darling, you just got a shot of adrenaline.   
Louise crumples underneath the dashboard. She mutters alrighty then. 

Terry is all alone by himself. He checks the monitors. He looks around to see that no one is watching him. 

He sighs in relief as he continues working.   
Terry  
Am I gay?  
Terry looks up from his work station. He shakes his head and continues working, and he looks at the monitors. 

Terry  
That’s ridiculous, I have a girlfriend. 

Terry continues to look at the paperwork. A blur passes by the camera monitors. Terry notices this and presses a door to prevent the robot from crashing into the door. A resounding crash prevents the robot from crashing.

Terry  
Bloody ridiculous.   
He continues working, with the question is Terry gay resounding in his head?

Terry

I’m not gay, am I? 

Intro to the red fox ( the astrophysicist)

The red fox

But I am the greatest, aren’t I?

Daemen  
I love you, you know that.

Daemen scratches the red foxes' ears.   
The red fox  
(smiling)  
To the moon and back?

Daemen

To the moon and back. 

The red fox

That’s impossible.   
Daemen whispers to the red fox, I love you to the moon and back. She carries the red fox in her lap, showing massive affection to the fox. Almost smothering the fox. She loves him to the moon and back, but the many galaxies. As soon as she touches him, he purrs as if receiving affection. 

Daemen

You're the greatest. I could never trust anyone else. Your the only one I could trust. 

Daemen cuddles the red fox.

Daemen

I could make you human if you would like. 

Red fox  
I would like that a lot.

**Notes for the Chapter:**

> It's just me rambling on about my life....


	6. Intro to the Husky

**Summary for the Chapter:**

> We discuss bullying, alcoholism, and giant spiders.

ENTER the Husky

What happened to John the horse?

The question rang out as the husky observed the chaos. John the horse gave a brief yelp as he was tied down via restraints. There was screaming and crashing as he tried to avoid getting tied down in an ambulance. He gave out a quick cry as he tried to avoid surrendering to the hypnotizing lul of the tranquilizers. He could have avoided all of this trouble by simply pulling out the tape. Yet, he stayed there, his eyes growing colorless as the medication took hold.

John gave out a quick whimper as he looked at the crew staying at the house.

"It hurts so much." He moaned underneath the roar of the engine.

He looked like he was in a great amount of pain. His eyes had grown accustomed to the circles underneath his eyes. He seemed to resemble a malnourished victim of a third world country. His eyes were invoking some form of hopelessness. The husky avoided the guilt-tripping that John-the horse seemed to be trying to do.

"Is john going to be ok?" The husky asked.

If you mean to go to therapy, and by going to therapy, and go through the motions, and learn nothing at all, then he's going to be fine." The raccoon snarked.

"Don't say that." The husky said.

"What? He always does that." The raccoon simpered. "They always do that." He took a drag of his cigarette.

"I should have never trusted John the horse," he added.

"What do you mean by them?" The husky asked.

"John the horse is a complete trainwreck, Jodie."

Jodie repeated herself. "What do you mean they?"

"The ones who fear abandonment, Jodie."

Jodie shook her head. Ziggy interrupted, with "clearly, you never grew up with one Jodie."

The raccoon shook his head. "Face it, Jodie, he's completely and utterly SCREWED."

The final words hung in the air. John-the-horse twisted his head to hear what he had to say.

"Elton."

John the horse was on the stretcher, tears rushing down his face. Elton the raccoon did not look at him. Instead, he stared at the ground. John-the-horse winced as if he was in pain. There was a murmur as the paramedics slammed the door. There was a tremendous slam of the ambulance door. Elton did not look at the contorting body of John-the-horse as he continued to bang against the ambulance door. He let out a howl as his vision began to fade. The ambulance let out a whine as it vanished into the horizon line.

"It's true isn't it?" Ziggy asked impatiently.

"What will happen to her when she's sixty?"

"Who? John or Daemen?" The raccoon inquired.

"Both of them!" Ziggy cried out in aspiration. "She'll forget the therapy sessions in about 10 years or so! Then what will happen next?"

The husky tried to give them a reassuring," well, change is gradual…"

Ziggy gave her an odd look.

"She isn't going to change Jodie. Not if she's going to act like a THIRTEEN-YEAR-OLD." The raccoon added explosively.

Ziggy sucked her breathe, as she continued over the raccoon's rant.

"It's a long story, Jodie." She added.

Ziggy rolled her eyes as she continued. "Daemen isn't going to change back into John if she keeps withholding responsibility."

"What do you mean by that?"

"She isn't going to do well later in life if all she does is binge watch Steven Universe, and gush over Brian Meow," Ziggy answered.

A crisp white anamorphic mouse entered the household. He gingerly stepped over the basement room.

"Dear me, is this any way to keep a household?" The mouse gaily asked.

"Ah Frederick, you've arrived." Elton smiled as the mouse walked over the basement floor. Come over here as he embraced Fredrick the white mouse in a tight embrace. Daemen would have gone crazy over Frederick the white mouse. After all, she had a hard time understanding homosexual relationships without Tumblr rainbows and daisies.

Ziggy smiled as Ringo the raccoon engulfed Fredrick the White Mouse in an embrace.

"Remember, it's Christmas. Keep it PG." she gave a slight tease.

Ringo looked to mild shock. What? He asked. "Keep it PG?"

"Don't do it in Daemen's room."

"Oh so now it's Damon's room?" Elton the Racoon questioned.

"Plus we've already established two dudes in an embrace, haven't we?" Ziggy asked herself, changing topics.

"What?" Frederick the white mouse asked, clearly not listening to what Ziggy was saying.

Ziggy clarified her question. "You two are going to have…

….Fun, right? Downstairs right?"

The two men look at each other. Where they are going to have fun? They gave each other a once over as they admired each other. They examined the room for potential magic making. It wasn't very clean, as there were diaries all over the place. Spiderwebs grew in one corner. The bed was unmade which must not be comfortable considering for the last few months there had been a giant spider living in what used to be John's room.

The mouse gave a slight shiver. "He didn't lay eggs, did he?"

Elton corrected him by answering, "she did not thankfully. The worst that happened was an egg was laid, and we don't talk about that."

Fredrick continued to observe the room which seemed to be in disarray. "What happened?" Elton gestured towards the room. "Let's picked up the place and maybe we'll find out."

September 5th, 2014

I was bullied when I was five, and it was the reason I didn't have any friends.

Why does everyone hate me so?

I don't understand why one of my friends pretended that I didn't exist.

Or when I was in the fifth grade, one of my friends screamed out, Daemen eats pumpkins? ( it was a dig at my weight). I tried to show my love to this site, and I never got any.

September 6th, 2014

Screw you anon. You might be a teenager, but you have completely ruined my life. You have done unreputable damage to my life.

September 7th, 2014

I tried to tell my side of the story, but no one listened. This community is full of buttholes. I'll never listen to Brian Meow ever again.

September 8th, 2014

Them: I completely understand monsters

Me: I am the host of a demon.

Them: ….

Them: ….. Here's a scathing letter about you. You are a terrible human being. You are an abuser and a general piece of poop. Have fun.

September 9th, 2014

Why does no one understand demons? Being a demon is bad enough, but do we need to have a stigma as well?

January 1st, 2015

Dear Elton the Racoon.

Everyone, Elton the raccoon wrote how I was starting stuff again. Leave me the hell alone. I don't want to look at your artwork. You're being annoying.

"Daemen, I'm proud of you." the therapist smiled proudly. "You took the initiative, and stood up for yourself."

Daemen smiled as she leaned back into the chair. She smiled as she finally felt understood. She made a mental note of adding the star to her checklist. She felt so proud of her accomplishments. She stood up to her oppressors. She publically put them put in their place. They were the bad guys and she won. Standing up to yourself. For once in her life, she had shown confidence. She had this sense of empowerment. She nodded once more as she discussed the matter with her therapist.

Well, no one understands you, of course, Daemen, the therapist added, seemingly filling some void in her life.

Huh.

All of a sudden, she felt very powerful.

Do you feel like you are being punished for everything?

Check.

Do you feel excessive guilt?

Definitely. Ringo the raccoon checked the box.

Have you struggled with sleep recently?

If you mean staying up at two in the morning for no reason at all, then check that one.

Have you become irritable recently?

Uh, yes. He had noticed that he had become very irritable. Angry, even.

Have you had thoughts of harming yourself?

Oh, that little habit of biting into my forearm? CHECK.

HAVE YOU STRUGGLED WITH EATING? The doctor looked at the checklist.

"Well, You've met the criteria for severe depression." Ringo looks at the doctor.

"Could you tell me more?" LIKE I'm seriously depressed?

We see two teenagers sitting at a desk.

Louise

Alright! New job!

Terry

Wait till I surprise my missus at home!

Glaticus

(astonished)

Do you have a missus?

Terry

Sure do!

Almost as if to dance, he begins to stretch out a bit. He gives an excited grin as he begins to speak of his girlfriend.

Terry

(crossing his legs)

Well my dears, my missus is one of a kind girlfriend.

Louise gave a mild scowl as if to mockingly act disappointed.

Terry

What?

NIGHT ONE: neurotic

Terry

Well my dears, let's start looking at the camera.

Louise

The camera looks fine.

Glaticus

Wait, what's on the other camera?

Louise peers at the camera. There appears to be a small blob dashing in the corner of the room. An image of a robotic fox flash, Louise jumps. She has become quite pale. Her heart is beating quite terribly.

Louise

What was that?

Terry

Dear, that was a jumpscare.

Louise

Jumpscare?

Terry

Darling, you just got a shot of adrenaline.

Louise crumples underneath the dashboard. She mutters alrighty then.

Terry is all alone by himself. He checks the monitors. He looks around to see that no one is watching him.

He sighs in relief as he continues working.

Terry

Am I gay?

Terry looks up from his work station. He shakes his head and continues working, and he looks at the monitors.

Terry

That's ridiculous, I have a girlfriend.

Terry continues to look at the paperwork. A blur passes by the camera monitors. Terry notices this and presses a door to prevent the robot from crashing into the door. A resounding crash prevents the robot from crashing.

Terry

Bloody ridiculous.

He continues working, with the question is Terry gay resounding in his head?

Terry

I'm not gay, am I?

Intro to the red fox ( the astrophysicist)

The red fox

But I am the greatest, aren't I?

Daemen

I love you, you know that.

Daemen scratches the red foxes' ears.

The red fox

(smiling)

To the moon and back?

Daemen

To the moon and back.

The red fox

That's impossible.

Daemen whispers to the red fox, I love you to the moon and back. She carries the red fox in her lap, showing massive affection to the fox. Almost smothering the fox. She loves him to the moon and back, but the many galaxies. As soon as she touches him, he purrs as if receiving affection.

Daemen

You're the greatest. I could never trust anyone else. Your the only one I could trust.

Daemen cuddles the red fox.

Daemen

I could make you human if you would like.

Red fox

I would like that a lot.

Dearborn Michigan

1994

Dark cold eyes stared at the ceiling. Like a predator in search of prey, Ziggy's mom laid on the couch.

Ziggy preferred it that way. She preferred that her mom laid on the couch passed out as a corpse. She stood in the doorway clutching a permission slip that announced the field trip to Washington DC. She had to go. Of course, she had to leave this place. She glanced at the ceiling, praying to some god that her mother will have signed the darn thing.

The whole house reeked of cat urine. It was as if the house had bad energy to it, suffocating the occupants inside. It was as if she waited a moment longer, the whole house would collapse on itself. She hoped it did of course.

Mom?

Her mother turned on to the couch. Ziggy muttered something about signing a slip. With a rhythmic gesture of the pen, the paper was given to her. She put it into her backpack. She had to make sure she had to be very quiet. Her mother was zoned out. Dead on the couch. Ziggy thought to herself, god, I wish you were dead right now.

She drifted into her room. Like a ghost in the cogs of the machine, she hid in the room that reeked of cats. She looked at the permission slip.

Great. Seven days without dealing with mom. That's just wonderful, she mused to herself. She locked the door. She didn't want any accidents happening tonight.


	7. It's all in the genes

**Summary for the Chapter:**

> We speak of genetic mishaps. What will we learn today?

**Notes for the Chapter:**

> Writing this one took a couple of hours.

“It’s all in the genes I suppose.” The husky mused to herself. 

  
“What?” The genetic biologist gave Roger Gilmour a strange glance. It’s not genetic, I can tell you that. 

Syd sat on what used to be  John's bed.  He seemed overjoyed at the prospect of having a separate room. The room was very cluttered, with books strewn over the place. the room had been abandoned for several weeks now. Ever since John had been hospitalized, Syd had been more than happier to take the room. Roger Gilmour the Clydesdale repeated his question. 

"I don't think Syd's condition is genetic." The husky replied to the Clydesdale. "Well, look at the paperwork." the horse responded. 

At the hospital, John-The-Horse sat at the doctor's office.   


“Well, John-The-Horse, I am going to tell you that I think you meet the criteria, for turning into a massive spider.”

  


John-The-Horse perked up. 

  


“Turning into a massive spider?” 

  


“It is believed that people who turn into a huge spider have issues that are related to emotional trauma.”

  


Later...

  


“What is turning into a massive spider?” John-The-Horse asked by looking at his phone. His butt began to slowly freeze as he tapped out the question on his iPhone. It took a while, but as soon as the search results came up, he wished he hadn’t.  His stomach fell with dry guilt as he read over the horrible headlines in horror. He couldn't have been a monster, could he? 

  


“Turning into a massive spider requires lifelong treatment.”

  


“Many psychiatrists refuse to treat people who turn into a massive spider.”

  


“Giant spiders are difficult to treat.”

  


John-The-Horse rushed into the Psych's office. He didn’t seem too happy about the diagnosis. Why did he have to be diagnosed with turning into a giant spider? He kicked down the door of the doctor's office with his hoof. 

  


John-the horse, did you look up “Turning into a giant spider?” The physiatrist looked at his schedule without acknowledging John’s presence. “Yeah, I did.” He replied somewhat sheepishly.

  


Hmm. The psychiatrist said, putting the schedule down. “Can I have a new diagnosis please?” He inquired. 

  


“ A new diagnosis?” The psychiatrist replied, looking somewhat shocked. “John, why would you want a new diagnosis for turning into a massive spider?” 

  


John shook his head. “It said that turning into a massive spider requires lifelong treatment.”

  


“That I was unpredictable?” He asked. 

  


“Unpredictable? John, why would you read that sort of nonsense?” 

  


“I dunno.” John gave a fervent shake of his head. “Please a new diagnosis?”

  


“Let's look over the diagnosis”

  


“Irritability” Ringo's doctor looked over the checklist.

  


“You have an untreated fixation of the taste of flesh.” Johns's doctor looked over the checklist without any form of worry.

  


“Fervent suicidal gestures, and threats.” John's doctor added. 

  


“You have trouble with sleep.” Ringo's doctor continued. 

  


“Feelings of worthlessness” Ringo added. 

  


“You inevitability turn into a major spider.” John the horse added. “You inexplicably develop venom glands behind your teeth.”

  


“You inexplicability have pedipalps in where your teeth should be.”

  


What are pedipalps? John the horse asked. 

  


“It’s a fancy word that means part of the tarantula's fangs.” john-the horse sat back into his chair. “You switch frequently from horse to spider.” “Mood swings.” John rolled his eyes while he sat in the chair adjacent to the doctor. “John, I’m being serious right now.”

  


“Yes, sir.”

  


elsewhere...

  


“Aren’t giant spiders unpredictable?” Louise asked while cleaning up what used to be John-The-Horse's room. 

  


Ziggy would’ve answered with “That is a stigma, Louise.”

  


She knew better. She gave a firm nod as she answered Louise's question. “They can be Louise. Giant Spiders are generally violent, unpredictable, and abusive.”

  


Something that Ziggy wished she would have told her first-year psychology student self. She should have known better than to let John-The-Horse in her life. It was a grave mistake to let John-The-Horse waltz into her life. It was mildly stupid of her to go into the field with that leftist notion that giant spiders had horrible lives. Her psychology professor was right, she shouldn't have trusted John in the first place. John hurt too many people. He knew that Ringo had severe social anxiety, so why does he humiliate his friend on a blog post? It’s because John was a cruel person. 

  


“Could you tell me about your psychology degree in the first place?” Louise asked

  


“Oh, I don’t have a psychology degree,” Ziggy answered. “ I dropped out during my first semester.”

  


“So just a class then?” Ziggy answered Louise's question with, “Just a class.”

  


“What was it like?” Ziggy smiled somewhat sadly. Remembering the class made her feel sorrowful for someone she used to be.

  


“Every time I came in, my sixty-year-old professor would rob me about my giant backpack.” She gave a mild laugh. 

  


“He said that when he was interviewing a giant spider, the giant spider through him through a wall. For no reason at all. He said that he would never take a giant spider because, in his own words, they tend to be violent, and unpredictable. That giant spiders are usually females. It can happen to males, Louise.”

  


“Why do you hate John-the-horse so much?” Louise asked the zebra. The zebra gave her a funny look as she analyzed the question. She wanted to give the brutal answer. That she wished the most horrible fate on John-The-Horse. She hoped his book never sold well. That he got karmas retribution. That he, no, she reminded her of her turbulent childhood filled with a domestic dispute, and screams and empty threats. 

“Because she’s a psychopath and a narcissistic giant spider. Don’t think about it, Louise.”

“What’s wrong with Syd the horse, Ziggy?” Louise asked.

  


“What do you mean by that?” Ziggy asked. “There’s nothing wrong with him.”

  


Syd sat nearby untuning his guitar. He returned it, seemingly oblivious to what was going on. He continued to do so and continued to play with the guitar. 

  


“Syd?” Ziggy asked, catching his attention. He sat up, his attention set on the guitar. It seemed all wrong with playing his guitar. He didn’t recognize it. What was he holding, a bomb? he wondered to himself. He closed his eyes and held it out as if he were holding a grenade. It was if a weapon was about to go off. Ziggy closed her eyes. She went up to the kitchen and went through the pantry. 

  


In her notes, she wrote, “On his first day, in the 2010s, Syd appears to be highly unresponsive. He does not seem to like human interaction. Syd also does not like it when people ask him questions. He seems to have shut himself off. Any attempt at getting him to get out of the house has resulted in him locking himself in the spare bedroom adjacent to the basement”.

  


She forgot to mention that Syd was completely naked. As a result of the "science experiment" Syd has lost all of his clothing. He stood in front of the tube unaware that his privates were hanging out. The musician did not recognize that he was in the future. 

  


"Welcome to Twenty-Fourteen Syd!" Roger Gilmour replied enthusiastically. 

  


Syd said nothing as he stared at everyone. His face did not show any emotion at all. He simply wandered to the spare bedroom adjacent to the basement. 

  


Syd spent the entire day completely quiet. It was odd, as he should have been freaking out that he was in 2014. He had shut himself off. He did not come out for an entire day. He walked up to the basement bedroom, and quietly closed the door. There was a click of the doorknob as the door became locked. 

  


He spent the entirety of the day extremely quiet. He was kind of standoffish. It was hard coming into a period which seemed very alien. He curled himself into a little cocoon with the blankets. Off. possibly simulating warmth. He made a little fort with the blankets and pillows in the room. The first day was not spent watching tv. Any attempt with turning on the television resulted in the Tv being shut off. He did not like being reminded of the outside world. Turning on the news resulted in him repeatedly saying, “shut it off please.” Ziggy sat with him curled up in the bedroom. He did not cry, or make a single noise. Instead, he stared at the television as if in shock. The television was a late 1990s model. It was a large rectangle with a grey screen. His eyes were a soft brown, but they seemed distant. They seemed to be taking in the world that seemed to be quite strange. 

  


Syd did not respond to Ziggy's questions. Instead, he looked at a poster with a prism with a rainbow shooting out of one side. 

  


“Syd?” The psychologist asked. 

  


Syd laid to one side. He contorted his body into a fetal position. He didn’t seem to want to talk right now. The psychiatrist offered him a candy bar. He snatched the candy bar from her and began to tear into the wrapper. He took a large bite before noticing the psychiatrist was staring at him. 

  


“Do you mind?” He replied in annoyance. 

  


The psychiatrist took several notes. He took a bite of the candy bar and swallowed almost comically. He took several more bites, almost anomalistically. Crumbs fell to the floor as he finished off the candy bar. He seems to have somewhat of a sweet tooth, the psychiatrist wrote in her notes. He resumed his fetal-like position after he finished his snack. 

  


Ziggy wrote in her notes, Syd is curled up in bed. She turned to the bassist who had curled up under the bed. He did not want to come out of the blankets. It seems so bizarre to him. She engulfed him in a hug. At first, he pushed back, but then he fell limp in her arms. Ziggy mussed his mane, while he clung to her body. She needs to remain quiet. It is a very scary moment for him. He doesn’t understand how overwhelming it is for someone to come out of the tube. 

  


He is scared. We all are a little scared of the outside world.


	8. To Iowa

**Summary for the Chapter:**

> The two try to go to Iowa. however, they find that they struggle with addiction, depression, and generally get distracted.

To Iowa!  
Roger Gilmour

All we need to do is go to Des Moines Iowa, confront the demon, and get our friend back.

Syd the horse

How on earth do we do that?

Roger Gilmour glances at him. He gestures to Ringo the Racoons car. There is gas in the tank, no one is going to be the wiser. The car is a sharp red, with wheels.

Syd the horse

Oh.

He turns to Roger Glamour. Roger gives him a thumbs-up as Ringo walks up to them.

Ringo

(greeting towards them)

What’s up my dudes?

Roger Gilmour

(turning to Ringo)

You're going to drive us to Des Moines.

Ringo gives him a “What are you talking about ?”

Ringo

No.

We see a car smashed into a tree. All of the characters are sitting on the ground. Ringo gives an ashamed look as he is the one who has crushed it.

Ringo

Let’s call an Uber.

Roger

You weren’t sober, were you?

Ringo grabs a phone call from Roger Gilmour.

Ringo

(taps into it)

There we go.  
Roger crosses his arms and glowers at Ringo the raccoon.

Roger

Unbelievable. You were how high?

Ringo

Just a few grams.

Roger

Of what exactly?

Ringo

I’m not telling you.

Roger groans and throws his hooves up in the air. They wait for the uber to arrive.

The uber pulls up to the two characters. We see a massively curly head pop up.

Driver

‘Ello!

All three characters get in the car.

All three  
‘Ello!

Ringo puts on his seatbelt.

Ringo

To des Moines!

The driver doesn’t respond.

Ringo

We would like to go to des Moines.

The driver

That doesn’t seem too bad.

The uber starts up, which surprises all three cars.

All three characters

Huzzah!

Surely, it will take them a couple of hours to go to De Moines.

Ringo

No distractions.

Smash cut outside of a night club. The uber is parked outside the nightclub. The driver is seen sobbing inside of the car. Ringo is seen emerging from the smoke. He walks down the stairway.

Without thinking Ringo slowly removes several pieces of his clothing. He is dressed in leather pants. He walks up to the congregation, seemingly shirtless.

He dives into the group of the animals. The group of people begins to writhe. It looks like hell on earth. The scene is very flashy and over the top. He grabs a bottle of wine and chugs it down until there is no more left.

He tosses the bottle offscreen.

One of the animals begins to grab his crotch area. He begins to surrender to his desires, by allowing the swarming congregation to overtake him. Ringo begins to swim in the sweaty bodies slamming into each other. Ringo slams into the floor, have been pinned down on the concrete by one of the club-goers. He gave a satisfied grin as the animal moves down on him. His body is a train that finds itself speeding into a tunnel. His senses allow him to passionately kiss his assailant. His paws move towards the camel's hump.

Ringo gave out a scream of pleasure. Inside he felt like the worst person alive. It felt degrading, but he wanted to feel something. He wanted to feel anything but nothing. He grimaced as he moaned. He hated this. He felt sick, that there was something wrong with him. If he was touched one more time, then the feelings of sickness would disapparate. It made him feel sick. He was disgusting, he was disappointed in the fact that he didn’t control this urge that had overtaken him.

It felt sickening. Instead of complaining, he swallowed his pride. He swallowed something else, but pride was more important. He dug his claws into the camel's back. The camel yanked the tufts on his fur. He felt so proud. At the same time, He felt like it was an urge he couldn’t control. He felt as though he needed control, and this was the way to gain that sense of control. The yank was painful, but he deserved that.

He deserved to be punished. He yelped pleasure as he responded to the camel's actions. He felt the members of the club grab him, which was something he surrendered to. He allowed the many bodies to grab him, pull him, and twist him. One of the members yanked his tail which he registered as arousing. He whined.

Afterward, as he left the writhing bodies, he crawled out of the club scene.

He curled up into a ball. He didn’t want to think about it anymore. His body was weak and torn. In a moment of exhaustion, he sniffed the air. How could he continue with this?

He felt as if he could take no more. But what was the point of searching for something if he couldn’t find it?

It felt so exhausting.

He took a breath, as he passed out on the side of the night club. He had to keep going. He drugs his body throughout the building’s alleyway. He crawled his way out the alleyway. He looked out as he recognized the car in the driveway. His uber. He kept crawling. He crawled towards the uber as if he was in a war he could not win.

He pulled himself up to the car. His claw weakly rose as if to pull the doorway open. He yanked it up, making the car beep very loudly. The uber driver woke up with a loud start. He turned to face the Racoon who looked like a zombie. The Uber driver had been crying.

The raccoon  
“What am I supposed to say?”

The driver

It’s awful. I can’t stop crying.

The raccoon

Turn on the radio.

The radio

Remember feeling depressed is completely valid.

Syd speaks up from the back of the car.

Syd

It’s complete nonsense.

The raccoon does not realize that Syd has been sitting in the car.

Syd

Just be grateful for what you have?

The raccoon gives a sharp laugh. He looks as though he went through a torture machine.

The radio  
I was like you...

The radio

I was a famous YouTuber who felt worthless...

Syd rolls his eyes.

The radio

I got a million subs, and people were commenting on how “ I wished I had that many subs.”

Syd

This is why I don’t paint.

The radio

I was going to destroy myself...then I thought of my younger brother.

  
The radio continues.

The radio

Did I mention that I was a Youtuber?

The radio continues.

The radio

Did I also mention I used to watch anime?

Syd

What nonsense.

The radio

Then everything changed when I met my friend. She taught me how to be kind. She said that I am your friend.

The radio

Lesson 1  
The radio cont.

The radio

Open up yourself.

The radio continues.

The radio

Always give people a chance.

Syd rolled his eyes at the concept of the radio.

The radio

People are kind.

Syd scoffs at the radio.

Syd

This is complete and utter bollocks.

The radio cont.

The radio

Tell people how you feel.

All three animals in the car

(in unison)

No!

The radio cont.

Syd

I will do no such thing.  
Radio  
Assess your mental age.

All two of the members look at the car in complete shock.

The radio

I know this sucks.

The radio cont.

The radio

I was sixteen and still stick after that girl refused to invite me to that party.

The radio continues.

The radio

Let go of that.

The radio cont.

The radio

I let that control my life. That was dumb.

The radio cont.

The radio

Go out there. Life is about the creation of life. Discovering yourself every day is what makes us human. To the people who hurt me, I say thank you. I have a bunch of resources in the description below. Hopefully, this series wasn’t too hard for you to listen to. I honestly think to talk about this was kind of therapeutic. If you have any stories, my Instagram handle is *static* my Tumblr is *static, and my snapchat is *static*. Make sure to like, and subscribe.

Syd turns off the radio. Syd slumps over the car seat.

Syd

Do you see that?

None of the car members look at what he’s pointing at.

Syd

“Everything is so like and subscribe to my channel” or “follow me.”

Syd continues to rant.

Syd

This is why I left the music scene several years ago. There are no honest people in those days and these days.

The driver tries to intervene.

The driver

That’s not true.

Syd interjects.

Syd

Yes, it is.

The driver starts crying because he is clinically depressed.

Syd

The entertainment business is stupid! Syd signs this, Syd doesn’t play this. Syd, do this interview. Your just a puppet in a machine, Syd. You don’t think about “true art” of expressing yourself. It always follows the man, or follow the music executive. You live this tiring life, and it’s awful.

Syd takes a choking breath.

Syd

What's the point of trying if you can’t do anything right?

The driver starts to sob even harder.

Ringo

Your bandmate said you had a psychotic episode.

The radio

People are kind.

Syd scoffs at the radio.

Syd

This is complete and utter bollocks.

The radio cont.

The radio

Tell people how you feel.

All three animals in the car

(in unison)

No!

The radio cont.

Syd

I will do no such thing.

Radio  
Assess your mental age.

All two of the members look at the car in complete shock.

The radio

I know this sucks.

The radio cont.

The radio

I was sixteen and still stick after that girl refused to invite me to that party.

The radio continues.

The radio

Let go of that.

The radio cont.

The radio

I let that control my life. That was dumb.

The radio cont.

The radio

Go out there. Life is about the creation of life. Discovering yourself every day is what makes us human. To the people who hurt me, I say thank you. I have a bunch of resources in the description below. Hopefully, this series wasn’t too hard for you to listen to. I honestly think to talk about this was kind of therapeutic. If you have any stories, my Instagram handle is *static* my Tumblr is *static, and my snapchat is *static*. Make sure to like, and subscribe.

Syd turns off the radio. Syd slumps over the car seat.

Syd

Do you see that?

None of the car members look at what he’s pointing at.

Syd

“Everything is so like and subscribe to my channel” or “follow me.”

Syd continues to rant.

Syd

This is why I left the music scene several years ago. There are no honest people in those days and these days.

The driver tries to intervene.

The driver

That’s not true.

Syd interjects.

Syd

Yes, it is.

The driver starts crying because he is clinically depressed.

Syd

The entertainment business is stupid! Syd signs this, Syd doesn’t play this. Syd, do this interview. Your just a puppet in a machine, Syd. You don’t think about “true art” of expressing yourself. It always follows the man, or follow the music executive. You live this tiring life, and it’s awful.

Syd takes a choking breath.

Syd

What's the point of trying if you can’t do anything right?

The driver starts to sob even harder.

Ringo

Your bandmate said you had a psychotic episode.

Syd turns around to face him.

Syd

What?

He looks hurt.

Syd

Oh, the refusal to work, and the constant pranks?

Syd

(argumentative)

The only reason I shut down was that I was so exhausted.

His eyes well up with tears. He begins to talk even faster, almost unintelligible.

Syd

Did roger say that?

His words began to become very rapid. He begins to struggle with speaking.

Syd begins to sob.

Syd

I didn’t-

His words were cut off by his sobbing. He clutches his stomach as he tries to control the tears that were flowing from his eyes.

Syd

I didn’t-

He gives a small choke.

Syd

Psychotic episode...

Syd begins to sob even louder.

Syd

It was burnout.

He continues to sob even harder.

Syd

I was burnt out!

His words become unintelligible.

Syd

How could Roger-

He clutches his stomach.

Syd

This is why I hate people so much!

He spat on the floor.

Syd

People use you and use you until your no longer useful.

Syd begins to rub his eyes.

Syd

It’s everything, isn’t it?

Syd

(cont)

What's the point of working if you can’t even do it right?

Syd  
( Syd makes a soft whimper)

Syd

You know, my sister says I would’ve been diagnosed with Aspergers.

Syd

I don’t understand people.

Syd continues his rant.

Syd

I don’t understand all of the basics of playing the guitar. I just go do my own thing. The concept of following rules is just baffling to me. Why would someone follow the rules to something? It’s just another cog in the machine.

Syd

( in tears)

That's why I hold the bass like a grenade

Syd gestures with his hands.

Syd

It is like a grenade when you think about it. It doesn’t work the right way.

Syd  
Why would he say that?

No one answers his question. The uber driver continues to sob because he is clinically depressed.

The uber driver

Sometimes I want to quiet the voice that tells me that this moment of happiness won’t last with a major rock.

Syd

It doesn’t make sense. Why would someone follow the rules?

The uber driver

Don’t interrupt me!

Syd

I wasn’t interrupting you!

The uber driver

I am having a moment. Why won’t you feel sorry for me?

Syd

I don’t.

Syd talks over the uber driver.

The uber driver

Erm, I'm in a lot of pain.

Syd

I am in a lot of pain as well.

The uber driver

Don’t talk over me.

Syd

I wasn’t.

The uber driver turns around to give Syd a wallop. Syd ducks.

Syd

Hey!

Syd continues to talk.

The uber driver

What’s the matter with you? You are being very rude right now.

Syd doesn’t respond to this accusation.

Later in the uber

Roger Gilmour is in the car with Ringo. Syd has fallen asleep in between them. Syd is murmuring in his sleep.

Syd

No, not that!

Roger Gilmour notices this. He does not seem to care. He taps the driver who is intently focused on the road.

Roger Gilmour

Erm, What’s your name?

Without turning his head, the driver begins to speak in a monotone voice.

The driver

Hello Roger Gilmour, I am Brian Meow. I’ll be your host this evening.

Roger looks at the rearview mirror. Brian's pupils are glowing intently. He seems to be intently focused on getting them to your destination. He seems, almost… possessed…

Roger

How do you know my name?  
Brian meow continues to focus on the road.

A beat.

Brian Meow

I know a lot of things about you, Roger.

Roger does not respond to this.

Brian Meow

I know that your daddy died in the third world war. He was shot down, wasn’t he?

Roger Gilmour

How do you know that?

Brian Meow shrugs.

Roger Gilmour

I didn’t tell you how my father died.

Brian Meow continues to drive.

Roger Gilmour

Your not Daemen aren’t you?

A beat.

Brian Meow

I also know you are trying to stop Daemen.

His eyes. They gave a soft glow in the moonlight. Roger began to stop smiling as he realized that this guy knew more than they let on.

Roger Gilmour

I told you, we’re just three hippies going camping.

Brian Meow

In January?

Roger Gilmour

It’s a hike.

Ringo pipes up from the back seat. Syd is still sleeping. He begins to drool quite briefly.

Ringo

Why do you want to know our destination?

Brian meow gives a brief chuckle.

Brian Meow

Just try to stop me, you idiots.

The two of them begin to stop smiling as they realize Daeman is driving behind the wheel.


	9. Got me going like a physique

**Summary for the Chapter:**

> Syd the horse has a pyschotic break. We learn more about Daemon

The driver turned to the Three animals.

Syd

What’s your name?

In an idealized world, the cat appears to be in his mid-twenties. He wipes a curl from the mass of curls on his head. He has very thick curly hair tucked underneath his cap.

Meow

Don’t you recognize me?

Syd gives him a confused look as he does not recognize Meow at all.

Syd

I’m sorry, but who are you?

Meow

Meow. erm, guitar extraordinaire. Famous musician. Is it just me or does it smell like coffee? Mmh. Must be the coffee I spilled on my trousers.

Sorry?

Present-day

The date is Monday 21st, 2019.

Daemen stands in the suicide ward. She is wearing a teal hospital gown.

Therapist

So, what brings you to this ward?

Daemen

I guess a lot of things bring me to the ward.

The therapist is sitting at the desk. She offers Daemen a snack. Daemen shakes her head indicating she does not want to eat.

Daemen

Mmh.

She sits down looking at the snacks. Without thinking, she stuffs the candy into her cheeks.

The Therapist

So tell me about your life…

The date is Monday 21st, 2009.

Daemen now in her late 20s finds herself sitting at the ER. Syd is not in the room with her.

The doctor

I think you meet the criteria for turning into a massive spider.

Daemen

A giant spider?

She laughs a bit.

Daemen

Well, that explains a lot.

The doctor continues.

The Doctor

Turning into a giant spider is brought on by childhood trauma, such as neglect, or CSA.

Daemen

What’s that supposed to mean?

1981

Daemen’s parents sitting with their newborn child.

Daemen’s mother

Morning dear.

Daemen’s father acknowledges her with a light kiss on the forehead.

Daemons father

Morning darling.

He has a chunk of toast in his mouth.

Daemons mother

Dear, you're going to be late for work.

Daemen’s father

Oh crap!

He swings his coffee down his throat.

The two of them rush out of the house, offering words of wisdom to her grandfather who has just arrived at the house.

Elsewhere in Cambridge, England

Syd the horse is painting. He stops painting on the canvas. Without a second thought, he bashes the painting into pieces.

Syd’s sister

Syd…

Syd

Eh?

Syd’s sister rolls her eyes.

Syd

Hmmph.

Syd is in the garage of his mother's house. There is paint everywhere. He is coated in the acrylics. Syd the horse has grown a bit of belly since the earlier years of his young adulthood. At 33, he has found himself resembling a 60-year-old man He has some part of mane. It has been a decade since he had been kicked out of the band. He has been living in his mother's detached garage for a while now.

Syd’s sister

Nice paintings.

Syd ignores her. She tiptoes around the paintings.

Present-day

Monday, October 21st, 2019

Syd is sleeping in the car. He is slightly drooling as a 22-year-old man.

The radio

Syd!

Syd rattles awake. There is no one in the car but him. He settles back to slumber before the radio bottles him back awake.

The radio

Syd!

The voices sound garbled. There is a dissonant growl as the radio begins to turn itself back on again.

The radio

Syd!

It begins to sound borderline demonic. Syd begins to switch off the dial, but upon turning off the dial, Syd finds that he cannot do so. He tries to jump out of the car. The door is locked. He jiggles the car door before trying to escape. The car door fails to open.  
The radio  
SYD!

Syd curls up into a fetal position as he covers his ears with his hooves. He closes his eyes and pretends that it doesn’t exist. The noise roars until it becomes unbearably loud, screaming at Syd.

The radio

It’s all in your head…

The radio continues to mock Syd as he cowers in the back of the car. The transmission becomes so loud, that his ears begin to ring very slightly.

The radio

You're the problem…

The radio cont.

The radio

Why don’t you just end it huh? No one likes you…  
You stupid, fat, fu-

The radio attempts to hit him with one more swear.

The radio

Maybe if you just acted normal for once, your mates wouldn’t kick you out.

Syd cowers.

The radio

This is why no one likes you. If you could just act normal for once, then your mother wouldn’t have beaten you as a small child. You just had to wait for the hot water in the bath to cool down, didn’t you?

Syd cowers in the back seat.

The radio

Do you have any idea how much water was wasted you facking the pathetic excuse of a human being?

Syd cowers in the backseat. The radio briefly switches to a very gentle, Scottish brogue, i.e Meows voice.

Meow

How could you Syd?

Meows voice begins to crack as he recalls how chilly his house was as a child. Meow’s voice begins to grow higher and higher as if a child was taking over.

Meow

( as a child)

It’s so cold, mommy.  
Syd begins to cover his ears even tighter. He closes his eyes until everything becomes all of a sudden quiet. He opens his eyes and looks around expecting for danger.

As he meets the windows gaze, Syd looks up to see Meow is outside of the hotel. His shirt is slightly torn revealing a lanky body.

Meow

Look at You.

Syd looks at the sideway mirror. He sees that he is no longer a lanky bassist, but around a sixty-year-old man who happens to be diabetic. He kicks away in horror.

Meow, on the other hand, is practically glowing. He has the soft kindly eyes, but for some reason, he is not crossing his arms.

Meow

You're having a freaking psychotic episode. It doesn’t matter, does it?

Syd whimpers but swallows his pride.

Syd

It’s not real…

Meow thinks about this phrase. Meow begins to give a sad smile as he relaxes his body a bit. He unlocks the door. Syd’s body is rolled up into a bean.

Meow

You’re right. It’s all in your head.  
End scene


	10. Painting part one

**Summary for the Chapter:**

> We generally discuss psychosis. Syd wonders if he has it. We explore Syd's backstory a bit here.

WE OPEN TO 1992. WE SEE A YOUNG DAMIEN WALKING DOWN THE STREET. SHE SKIPS DOWN THE STREET. THE DOOR NUMBER IS VISIBLE. WE SEE A CLOSE UP OF HER HAND AS SHE PULLS THE DOOR OPEN.

THE RADIO IS PLAYING A GENERIC SAD SONG ABOUT LOSING YOURSELF TO MENTAL ILLNESS BY GENERIC PONIES, A PINK FLOYD ESQUE BAND.

RADIO

I WISH YOU WERE HERE RIGHT NOW…

THE MUSIC CONTINUES AS SHE CALLS OUT TO HER MOTHER. WE SEE HER WALK DOWN THE HALLWAY. HER PARENTS ARE NOT AT THE HOUSE. HER GRANDFATHER IS WATCHING TV. HE IGNORES HER, CONTENT ON TELEVISION.

DAEMEN’S GRANDFATHER  
  
YOUR MOM’S NOT HERE RIGHT NOW.

DAEMEN GIVES A SMALL GRUNT.

DAEMEN  
  
(TO SELF, NARRATING)

IT WAS AT THIS MOMENT THAT MY MONTHLY CYCLE STARTED.

  
12 HOURS PRIOR

WE SEE A FORTY-SEVEN-YEAR-OLD SYD WAKE UP. FOR THE PAST DECADE OR SO, HE HAS BEEN LIVING UNDER HIS MOTHERS SEMI-ATTACHED GARAGE. HE HAS BEEN SLEEPING ON A MATTRESS. HE HAS NO IDEA HOW TO MAKE A SCHEDULE. OR FUNCTION FOR THAT MATTER.

SYD

(MUTTERS ABOUT HIS BACK)

SYD PULLS THE COVERS OVER HIS HEAD. HE IS NOT GOING TO WAKE UP. NOT THAT EASILY. HE GIVES A GROAN AND PULLS BACK THE SHEETS. HE SITS UP OBSERVING THE GENERAL CHAOS WHICH IS HIS BEDROOM. THERE are PAINT CANVASeS ON THE GARAGE FLOOR. PAINT SPLOTCHES ARE COVERING HIS JEANS. HE PULLS THE SHEETS BACK, PROMISING HIMSELF FIVE MORE MINUTES.

SYD   
  
FIVE MORE MINUTES PLEASE.

  
HE JUMPS UP FROM HIS MATTRESS, CURSING HIS SORE BACK. THE SUNLIGHT IS BURNING THROUGH THE WINDOW. THANKFULLY THERE ARE NO PHOTOGRAPHERS. HE GIVES A GRIN AS HE PUSHES OFF THE SHEETS WITH HIS HOOVES. HE PEERS THROUGH THE VENETIAN BLINDS, MAKING SURE THERE ARE NO PESKY TOURISTS. IT HAS BEEN A YEAR SINCE HIS MOTHER HAS PASSED AWAY. HE HAS NOT GONE OUT. HE PREFERS TO KEEP IT THAT WAY. HE PULLS ON SOME DENIM.

THE YEAR IS 1971.

SYD IS LIVING WITH HIS PARENTS YET. HE IS HUNCHED OVER THE GARAGE. HE HAS BEEN LIVING WITH HIS PARENTS FOR A COUPLE OF YEARS NOW. IN THE YEARS SINCE HE WAS KICKED OUT OF THE BAND, HE HAS BEEN LIVING UNDER HIS PARENTS ROOF. HE IS ANGRY, MUTTERING TO HIMSELF.

SYD

( POD)

ERRATIC BEHAVIOR… I’LL SHOW THEM ERRATIC BEHAVIOR.

HIS HOOVES TREMBLE A BIT. HE CURSES AT THE FACT HE CAN’T HOLD HIS BRUSH IN A STRAIGHT LINE. HIS FINGERS ARE SLIGHTLY SORE. THE SWIRLS ARE INTENSE. THERE ARE GREEN SWIRLS, RED SWIRLS, AND WHITE SWIRLS.

SYD

HMPH.

SYD IS GRUMBLING. IN A FIT OF MANIA, HE IS PAINTING ERRATIC COLORS. HE CANNOT STOP THINKING. HIS HOOVES ARE BECOMING A BLUR. SUDDENLY HE GOES STILL. HIS HOOVES MOVE IN A SOMEWHAT CONTROLLED MANNER. HIS BRUSH BEGINS TO MOVE VERY SMOOTHLY AGAINST THE CANVAS.

FOR THE FIRST TIME IN HIS LIFE, SYD BEGINS TO LEARN DISCIPLINE.   
THE YEAR IS 1979

SYD IS PAINTING ON THE GARAGE FLOOR. HE IS PAINTING THE SIDE OF THE TRAILER. HE HAS RETAINED SOME OF HIS HAIR. HE IS DRESSED IN A LEISURE SUIT, SOMETHING THAT IS TYPICAL THAT HORSES OF THE SEVENTIES WEAR. HE IS IN HIS EARLY TO MID-THIRTIES.

MOST OF HIS PAINTINGS ARE EITHER DESTROYED OR PAINTED OVER TO THE POINT OF unrecognizability. THIS ONE IN PARTICULAR...

…. SPEAKS TO HIM. IN A FIGURATIVE SENSE OF COURSE.

SYD

I WANT TO LIVE IN A TRAILER SOMEDAY.

HE CONTINUES TO PAINT SOME MORE. HE WANTS TO MOVE OUT OF THE HOUSE WHEN HE COULD FUNCTION. HE WANTED TO BE ALONE, BUT HE WANTED TO MOVE OUT OF HIS PARENTS HOUSE. WHEN IT WAS POSSIBLE. HE SMILES AS HE PONDERS LEAVING THE SUBURBAN ENGLISH HOUSEHOLD. HE WANTS OUT OF THE STUFFY SUBURBS OF CAMBRIDGE. IF POSSIBLE, COULD HE LIVE IN THE WILDERNESS?

  
IF FUNCTIONING PERMITTED, HE COULD ESCAPE THIS DREARY LIFE. THERE IS AN IMAGE OF A TRAILER WITH A LARGE UPSIDE DOWN TRIANGLE. SMALLER TRIANGLES ARE INSIDE THE TRIANGLE. THE TRAILER IS NEXT TO A WOODED CABIN. PERHAPS THIS IS WHAT SYD WANTS OUT OF HIS LIFE.   
  
  
  
SEVERAL MONTHS LATER

SYD IS ON THE GARAGE FLOOR. HE HAS A CRAYON IN HIS HAND. HE IS DRAWING LINES AND SCRATCHES ON THE PAPER. THERE IS A SEEMINGLY LONE PERSON. SYD GAVE A SOFT GRUNT. THIS ONE APPEARS TO HAVE TAKEN A COUPLE OF MINUTES. HIS HOOVES SLIP A BIT. HE SHAKES HIS HEAD. THE QUESTION REMAINS, WHERE ON EARTH DID HE GET A CRAYON?

HE STOPS DRAWING. HE IS FEELING AS THOUGH HE IS STANDING IN A FIELD.

SYD THE HORSE FINDS HIMSELF IN THE MIDDLE OF A FIELD. HE IS THE ONLY ONE PRESENT. THERE IS NO ONE ELSE, WITH HIM. HE DOESN’T LIKE THE THOUGHT OF BEING ALONE AT ALL. STILL, HE EXPERIENCES these PHENOMENA daily. HE FEELS ALONE IN THE CROWDED FIELD. NO ONE CAN HEAR HIM SHOUT, OR CRY FOR HELP.

SYD

HELP!

NO ONE ANSWERS BACK.

SYD  
IS THERE, ANYONE, OUT THERE?

NO ONE IS RESPONDING. HE DOES NOT MOVE AS HE FEELS THE CORN STALKS BRUSHING UP AGAINST HIM. HE IS IN an UNFAMILIAR PLACE AND AN UNFAMILIAR TIME. HE ISN’T PRESENT. HE IS QUITE LOST.

1980

WE SEE A YOUNG RACOON GETTING PULLED BY HIS MOTHER. SYD IS NEARBY EATING A CRESCENT.

YOUNG RACOON

MOM, DO I HAVE TO?

  
THE RACOON’S MOTHER

I TOLD YOU TO STAY IN THE CAR DAVID!

THE RACOON GIVES A SMALL WHIMPER. THE RACOON GIVES AN AGGRAVATED GRUNT AS SHE PULLS HER YOUNG SON ALONGSIDE HER.

THE RACOON

WHY ARE WE HERE?

THE RACOONS MOTHER

WE’RE HERE TO PICK UP YOUR SEVERELY BIPOLAR AND POSSIBLE SCHIZOPHRENIC, GRANDMOTHER.

A BEAT.

THE RACOON  
WHAT’S SCHIZO-PRE NIAAA?

IN AN IDEALIZED WORLD, SYD WOULD HAVE BEEN DIAGNOSED AS SCHIZOPHRENIC. SYD GESTURES TO THE RACOON. THE RACOON’S MOTHER SHIELDS HER SON AWAY FROM HIM. SHE GIVES HIM AN ICY DEATH GLARE.

THE RACOONS MOTHER

WAIT HERE.

SHE CONTINUES TO GLARE AT SYD BEFORE WALKING TOWARDS THE LOBBY.

THE RACOONS MOTHER

(UNDER BREATH)

FREAK.

SHE CLOSES THE DOOR WITH A LOUD SLAM. THE RACOON AND SYD SIT IN THE LOBBY.

THE RACOON

(INNOCENTLY)  
  
HEY MISTER, WHAT’S SCHIZOPHRENIA?

SYD LOOKS AT THE RACOONS INNOCENT FACE. HE DID NOT LIKE CHILDREN.

YET…

SYD

( SHRUGGING HIS SHOULDERS)

I DON’T THINK I KNOW.

  
THE RACOON LOOKS AT HIM.

THE RACOON  
  
(SWINGING HIS FEET)

WE’RE HERE TO PICK MY GRANNY UP.

  
SYD LOOKS AT THE SIGN ON THE HOSPITAL DOOR.

  
THE RACOON

WHAT?

  
SYD THINKS FOR A MOMENT.

SYD

OH, NOTHING.

HE NOTICES THE SIGN WITH “SIGNS OF SCHIZOPHRENIA”  
IT APPEARS VERY RETRO.

SYD

“CATATONIA”

THE TEXT READS, CATATONIA IS an ACT PROCEEDED BY STUPOR.

  
SYD

HUH. IT MUST MEAN PEOPLE ACTING WITHOUT THOUGHT.

  
THE RACOON

ARE YOU SCHIZOPHRENIC? LIKE, MY GRANNY?

SYD

NOT POLITE TO SAY THAT YOU KNOW.

A BEAT.

THE RACOON

YOU’RE NOT DANGEROUS ARE YOU?

SYD

NOT REALLY.   
SYD BRIGHTENS A BIT.

SYD

JUST LOST.

THE RACOON

( CHEERFULLY)

MY DADDY DOESN’T SEEM TO LIKE GRANNY. HE JUST SEEMS TO SHUT HIMSELF IN HIS ROOM.

  
SYD CONTINUES TO LOOK AT THE POSTER. OFFSCREEN THE RACOON NARRATES WHY HIS MOTHER KEEPS AN EXTRA EYE ON HER SISTER IN LAW. SYD PAYS NO ATTENTION TO THIS PATTERING.

THE RACOON

YOU’RE NOT EVIL, ARE YOU?

SYD

I'm LOST, NOT EVIL.

  
THE RACOON

MY MOM, SAYS THAT MY GRANDMOTHER IS EVIL.

SYD  
AH.

**Notes for the Chapter:**

> This one took a couple of hours to write down.


	11. Valid

**Summary for the Chapter:**

> Syd discovers the internet for the first time.

#  Valid

INTERNET USER 1:

HEY, FOLKS, IT’S COMPLETELY VALID TO HAVE AUTISM!

A BEAT. 

INTERNET USER 2: 

AUTISM PROBLEMS NO. 1!

INTERNET USER 2:

WHEN PEOPLE TOUCH YOUR SHEETS! IT’S LIKE NO, YOU’LL INFECT IT?

INTERNET USER 2:

SYD SITS NEARBY. HE TRIES TO SAY SOMETHING BUT INSTEAD IS CUT OFF BY DAEMEN. 

DAEMEN

SUDDENLY, THIS MISMATCH IS MAKING SENSE!

CONT.

DAEMEN

I DON’T GO OUTSIDE VERY MUCH. I SPEND AT LEAST EIGHT HOURS, FIXATING OVER THINGS MY PEERS THINK ARE CHILDISH. EIGHT OURS ON THIS SITE. PEOPLE HATE ME FOR NO REASON, AND I THINK THIS IS WHY. 

INTERNET USER 1:

AUTISITC PROBLEMS NO. 2! IT’S LIKE FIXATION. 

DAEMEN

I’M A 38-YEAR-OLD WOMAN WHO STILL WRITES FANFICTION!

SYD TRIES TO SPEAK UP. HE IS ONCE AGAIN SHUT OFF. 

DAEMEN

SHUT UP, FREAK. 

SYD GOES BACK TO HIS HIDEY HOLE. 

DAEMEN

I MIGHT HAVE AUTISM!

DAEMEN SPEAKS UP. 

DAEMEN

I CAN’T STAND THE SMELL OF CIGARETTE SMOKE!

DAEMEN

I HAVE TROUBLE RELATING TO PEOPLE, AND I DON’T THINK IT’S BECAUSE I’M AFRAID OF PEOPLE LEAVING ME!

INTERNET USERS

PRAISE IT!

DAEMEN

I DON’T LIKE SOCIAL SITUATIONS!

INTERNET USERS

WORD!

DAEMEN

AND IT’S NOT BECAUSE OF MY ABANDONMENT ISSUES!

INTERNET USER 1:

WHEN YOU FLAP YOUR HANDS!

INTERNET USER 2:

WHEN YOU LOSE YOUR THINGS!

INTERNET USERS:

SO CUTE!

SYD 

WHEN YOU FORGET TO FUNCTION. 

EVERYONE STARES AT HIM. 

SYD 

I THINK? 

SYD GETS BOOED OFFSTAGE. 

DAEMEN’S THERAPIST

( CHEERFULLY)

I'm DAEMONS THERAPIST, AND I THINK SHE SHE HAS AUTISM BASED ON NO RESEARCH AT ALL!

#  SYD 

SYD CONTINUES TO PAINT. THERE IS A CRAYON PIECE ON THE CANVAS. 

INTERNET USER

AUTISM HAS CUTE SYMPTOMS. 

SYD HAS NOT BATHED IN A WHILE. 

INTERNET USER

IT’S SO FUN TO FLAP. 

SYD HASN’T FLAPPED AT ALL. 

INTERNET USER

MOOD!

SYD HAS NO IDEA WHAT THAT MEANS. 

INTERNET USER

ECHOLALIA IS VALID!

SYD IS SOMEWHAT ECHOLALIC. 

INTERNET USER

HOW KAWAII!

SYD ONLY REPLIES IN MONOSYLLABIC WORDS. 

INTERNET USER

AUTISM IS SO COOL!

SYD HASN’T TAKEN CARE OF HIMSELF IN A WEEK. 

INTERNET USER

THAT FEELING WHEN YOU CANNOT GET YOUR WORDS OUT? 

SYD 

YES. 

DAEMEN AND SYD ARE SPEAKING. 

SYD 

HI HOW ARE YOU?

DAEMEN

GOOD!

SYD THINKS FOR A MOMENT. HE THINKS FOR A SECOND BEFORE TYPING. HE IS SO EXCITED THAT HE FORGETS HIS WORDS FOR A SECOND. THIS RESULTS IN DAEMEN WRITING THREE QUESTION MARKS. SYD PANICS SLIGHTLY. 

DAMEN RESPONDS WITH AN XD. 

SYD 

SO BLAH, BLAH. 

DAEMEN

HAHA. 

SYD 

I MADE SOMEONE SMILE. 

#  SYD IS IN THE GARAGE OF HIS HOUSE. 

SYD 

I DON’T GET IT. HOW IS CALLING SOMEONE ANNOYING ON A PUBLIC FORUM NOT THE SAME AS CALLING A SMALL CHILD A HOMOPHOBIC TERM, FAT, AND BLAMING HER FOR OWN UNPOPULARITY? 

SYD CONTINUES TO SIT AT THE GARAGE OF HIS HOUSE. 

SYD 

I NEVER LEAVE MY HOUSE AGAIN. 

A BEAT. 

SYD 

MAYBE i'm THE PROBLEM. 

SYD CONTINUES TO STARE AT THE GARAGE FLOOR. HE CONTINUES TO STARE AT THE GARAGE FLOOR FOR SOME TIME. HE TELLS HIMSELF THAT MAYBE HE DOESN’T DESERVE TO COME OUT OF THE HOUSE. ALONE, HE CAN COME UP WITH ELABORATE THOUGHTS. WITH OTHER PEOPLE, HE CANNOT COME UP WITH A GOOD THOUGHT PROCESS. 


	12. Syd does a bunch of lsd

**Summary for the Chapter:**

> Syd, brian meow, and the raccoon have their own demons while exorcising a demon. Ringo the raccoon learns that he has a drinking problem, and attempts to go swimming while drinking booze. Syd the horse learns that he might have a history of psychosis. I'm confident that he will be ok. one of the characters, roger Gilmour realizes that he has repressed memories of a relative's death.

# PRESENT DAY 

RINGO THE RACOON IS IN FRONT OF THE HOTEL LOBBY DESK. HE IS SITTING ON A CHAIR. NO ONE IS NOTICING THE LACK OF ENERGY IN HIS EYES. HE IS EYEING THE POOL. THE CAMERA CUTS TO AN EXTREME CLOSE UP OF THE POOL. THE CAMERA CUTS BACK TO RINGO WHO HAS SMUGGLED A PILL CONTAINER AND A SMALL BOTTLE OF WHISKY. ROGER AND MEOW HAVE REQUESTED THAT HE TAKE SYD THE HORSE SWIMMING. SYD IS NOT SWIMMING. 

RINGO 

SYD, PLEASE TELL ME YOU KNOW HOW TO SWIM.

SYD DOES NOT RESPOND TO THIS. RINGO SIGHS IN AGGRAVATION. THE RACOON BRINGS OUT A PILL BOTTLE. HE SCREWS THE CAP OPEN. HE PROCEEDS TO MANAGE TO GET OUT A COUPLE PILLS. A FEW PILLS LAND ON HIS PAW. A COUPLE MORE, AND HE SWALLOWS SOME MORE AS IF IT IS CANDY. AS SOON AS NO ONE IS LOOKING, HE BRINGS OUT THE SMALL BOTTLE OF WHISKY. 

DAEMEN (OFF SCREEN)

GOAT BOY GAVE SPIDER-GIRL A DEATHLY GLARE AS HE GLARED AT HER. “SNAP MY NECK! DO IT!” 

RINGO CONTINUES TO STARE AT THE PILLS. 

# RINGO CONTINUES TO LOOK AT THE PILLS. HE TAKES ANOTHER SWIG OF THE WHISKY. HE SWALLOWS THE PILLS. HE SWIGS, WHICH ADDS TO THE ALCOHOL INDUCED INSANITY. THE CAMERA TWILTS AND WARPS, SHOWING THAT HE IS STRUGGLING TO GET UP. HE WOBBLES A BIT BEFORE MANAGING TO GET HIMSELF STANDING. 

RINGO WALKS DOWN THE HALLWAY TO THE POOL AREA. THE CAMERA REMAINS TILTED INDICATING HE HAS A HARD TIME WALKING IN A STRAIGHT LINE. 

RINGO 

COME ON SYD. 

DAEMEN

( OFFSCREEN)

NO GOAT BOY! THE WEREDEMON CRIED OUT. THERE HAS TO BE ANOTHER WAY. 

SYD FOLLOWS THE RACOON OUTSIDE. 

RINGO THE RACOON WALKS DOWN THE HALLWAY, VERY NEARLY BUMPING INTO THE DOORS. THE RACOON VERY NEARLY MANAGES TO KEEP HIS COMPOSER. RINGO IS STILL EYEING THE POOL. HE ISN’T DRUNK, BUT HE HAS SOME TROUBLE WITH EYE HAND COORDINATION. 

RACOON IS SWAYING. 

DAEMEN

(OFF SCREEN)

i'm NOT A MONSTER! CRIED OUT NOT-BRIAN-MEOW.

THE RACOON IS STEADILY DRUNK. WE PAN TO THE POOL. PEOPLE ARE SWIMMING. A COUPLE OF PEOPLE ARE LAYING ON THE LAWN CHAIRS. \

DAEMEN

(OFF SCREEN)

NOT-DAEMEN THOUGHT FOR A SECOND. IT MUST HAVE BEEN SOMETHING IN NOT-BRIAN-MEOWS CLAWS. 

WE CUT BACK TO THE RACOON SLUMPING INTO A LAWN CHAIR. THE CAMERA IS WARPED. THE LIGHTS BECOME VERY INTENSE INDICATING THAT THE RACOON IS EXPERIENCING A SENSITIVITY TO THE POOL. NO ONE BOTHERS TO CHECK UP ON THE RACOON. 

DAEMEN

NOT-BRIAN-MEOW HAVE YOU BEEN CLINICALLY DEPRESSED? 

RINGO THE RACOON IS LYING ON THE POOL CHAIR. 

RINGO

MAYBE I SHOULD GO FOR A SWIM. 

RINGO TRIES TO PULL HIMSELF UP FROM THE LAWN CHAIR. THE CAMERA SPEEDS UP AS HE TRIES TO GET UP FROM THE POOL. THE BACKGROUND OF THE POOL BECOMES TO GET LOUDER AND LOUDER AS HE REACHES THE POOL, ALMOST BECOMING OVERWHELMING. WE HEAR THE WATER PUMPING, PEOPLE SCREAMING, AND LAUGHING, SPLASHING, ECT. 

RINGO 

(BARELY SLURRING)

HERE’S THE DIVING BOARD. 

RINGO THE RACOON BEGINS TO CLIMB UP THE DIVING BOARD. WE SEE A CLOSE UP OF THE RACOONS PAWS AS HE CLIMBS UP EACH RUNG. HE HAS A LOOK OF PURE DETERMINATION AS HE GETS UP EACH RUNG. HE KEEPS CLIMBING. HIS MOVEMENTS SLOW DOWN AS HE GETS HIGHER AND HIGHER. 

RINGO THE RACOON DOES NOT STOP CLIMBING. 

RINGO THE RACOON FINDS HIMSELF AT THE TOP OF THE DIVING BOARD. NO ONE IS NOTICING HIM AT THE TOP. HE OBSERVES THE PEOPLE PLAYING, SPLASHING, AND LAUGHING IN THE POOL. RINGO SAYS NOTHING. 

WE FLASHBACK TO A TV SHOW. MY CRAZY EX WHO TURNED INTO A GIANT SPIDER. 

WOMAN ON TV

I CANNOT STOP TURNING INTO A GIANT SPIDER. 

THE WOMAN IS ON THE PLANE. SHE IS NOT SOBBING. SHE JUST LOOKS SAD. 

WOMAN ON TV

WHY DOES EVERYONE LEAVE ME IN MY LIFE? 

SHE OPENS UP THE PILL BOTTLE. SHE UNREALISTICALLY SWALLOWS MOST OF THE CONTENTS, LEAVING AN EMPTY BOTTLE. SHE GETS ON THE PLANE. SHE LOOKS COMICALLY SAD. IT IS A NARMISH MOMENT. 

RINGO 

IT DOESN’T MAKE SENSE.

RINGO LOOKS AT THE PEOPLE. IT DOESN’T MAKE SENSE AT ALL. 

ON MY CRAZY EX WHO TURNED INTO A GIANT SPIDER…

THE CRAZY EX.

THIS IS GOING TO SOUND CRAZY BUT I MADE A MISTAKE.

THE UNUSUALLY NICE FLIGHT ATTENDANT 

OK, SWEETHEART, WE HAVE A BOTTLE OF WINE. 

THE GIANT SPIDER

OK. 

THE WRITERS HAVE A POLITICAL AGENDA. IN A SAD MOMENT, THE SPIDER TAKES OUT HER ANTIDEPRESSANTS. THE MUSIC SWELLS DRAMATICALLY AS SHE PROCEEDS TO DOWN ANTIDEPRESSANTS. BEFORE SWALLOWING, SHE SEES A BUTTON CALLED HOPE. IT IS A MELODRAMATIC MOMENT. SHE PULLS THE BUTTON. MEOW SCOFF AS HE WATCHES THE SCENE. 

NEXT TIME ON MY CRAZY EX WHO TURNS INTO A SPIDER…

GIANT SPIDER. 

IT’S OK TO HATE MEN!

SYD BEGINS TO BREATHE SEVERELY IRRATICALLY. HE IS HAVING A MAJOR PANIC ATTACK. HE IS TOO CLOSE WITH PEOPLE FOR COMFORT. EVERYTHING IS TOO BRIGHT, TOO SMELLY, AND TOO LOUD. HE MAKES A GUTTERAL NOISE, AS HIS BREATHING GETS LOUDER AND LOUDER. A MAN LOOKS AT THE LANKY 20-YEAR-OLD SHOWING ERRATIC BEHAVIOR. HE LOOKS AT THE RACOON ON THE DIVING BOARD. 

FATHER

OY!

THE RACOON APPEARS SHOCKED AT THE SUDDEN ATTENTION HE IS GIVEN. HE FALLS INTO THE POOL. THERE IS A LOUD SPLASH. WE PAN OVER TO THE RACOON STRUGGLING TO SWIM. HE MANAGES TO CARRY HIMSELF TO THE FATHER. 

RINGO

YES?

THE FATHER IS POINTING AT THE HORSE MAKING A SCENE. 

RINGO 

EH?

THE FATHER BECKONS HIM TO COME CLOSER. 

RINGO GULPS. 

THE FATHER

IS THIS YOUR SON?

RINGO

YEAH?

THE FATHER GIVES HIM A LOOK. 

THE FATHER

IS HE OK? 

RINGO THINKS FOR A MOMENT. WE CUT TO SYD SITTING ON THE LAWN CHAIR. HE IS STILL HAVING A MOMENT. HE may be EXPERIENCING SENSORY OVERLOAD. HE IS COVERED IN TOWELS. 

MEOW IS LYING ON THE BED. 

MEOW

HOW BAD IS IT?

THE RACOON IS LYING ON THE FLOOR. 

RACOON

HOW IS IT?

MEOW IS LOOKING AT THE RACCOON. 

MEOW

i'm NOT TELLING YOU. 

HE ROLLS OVER ON THE BED. THE RACOON IS LOOKING AT HIM. HIS BLACK VEST IS ON THE CHAIR. THE RACOON IS ABOUT TO SPEAK BEFORE HE IS INTERRUPTED BY MEOW. 

MEOW

i'm FINE. 

OFFSCREEN, MEOW WONDERS TO HIMSELF. 

#  MEOW 

HOW DO I TELL HIM HOW I FEEL?

THE STAGE BEGINS TO DARKEN AS MEOWS VOICE BEGINS TO BREAK AS HE PONDERS ABOUT HIS THOUGHTS. 

MEOW

ARE MY THOUGHTS FAKE?

A BEAT. 

MEOW

LOOK, I'm IRRITABLE. 

HE SHAKES HIS HEAD. THE SCREEN BECOMES A PINPOINT EMPHASIZING MEOW. NONE OF THE CHARACTERS ARE BECOMING NOTICEABLE. INSTEAD OF SOBBING LOUDLY, HE QUIETLY CRIES WHEN NO ONE NOTICES. 

MEOW

NO, IT’S JUST ME. 

MEOW

JUST MY THOUGHTS, AND MY THOUGHTS ALONE. 

SYD IS TOSSING AND TURNING. HE IS KICKING HIS SHEETS OFF THE BED. HE IS NOT SLEEPING WELL. 

OFFSCREEN DAEMEN SPEAKS. 

DIANA, REALIZED IN HORROR. OH NO, SHE GASPED. I AM TURNING INTO A SPIDER. MEOW SPEAKS.

MEOW

WELL STOP THE TRANSFORMATION THEN!

DIANA

I CANNOT!

SYD FINDS HIMSELF ON A TELEVISION STATION. DIANA IS IN THE MIDDLE OF TURNING INTO A GIANT SPIDER. MEOW IS TRYING TO DISSUADE HER FROM TURNING. 

DIANA

LOOK, I CAN’T STOP THE TRANSFORMATION FROM OCCURING WHEN IT STARTS.

MEOW

(GROANING)

WE HAVE 30 SECONDS!

A BLOND DRUMMER BEGINS TO PANIC. A FLAMBOYANT BASSIEST BEGINS TO SCOWL AS THE BLOUSE RIPS. 

DRUMMER

WHAT ARE WE GOING TO DO?

BASSIST QUIETLY SCOFFS. 

BASSIST

THAT WAS MY FAVORITE SHIRT. 

DIANA

GUYS, I 

HER VOICE BEGINS TO CUT OFF AS SHE BEGINS TO SCREECH. 

# DAEMEN IS WITH ROGER GILMOUR. ROGER IS IN FUNERAL CLOTHES. HE IS STANDING IN A BLACK TUX. HE IS GETTING READY FOR A FUNERAL. UPSTAIRS, HIS FAMILY MEMBERS ARE TALKING AMONGST THEMSELVES. DAEMEN SHOWS UP RIGHT BEHIND HIM. ROGER IS STRUGGLING TO PULL HIMSELF TOGETHER. HE IS TRYING NOT TO SHOW His EMOTIONS. 

DAEMEN

ROGER, I'm IN A LOT OF PAIN. 

ROGER 

NOT NOW. 

HE readjusts HIS TIE. HE LOOKS AT HIS REFLECTION, SOMEWHAT SATISFIED. ROGER GIVES A SMALL SMILE, ALMOST FORCIBLE. 

DAEMEN

ROGER, PLEASE, I COULD-

IN AN UNCHARACTERISTIC MOMENT, ROGER SHOUTS. 

ROGER 

ENOUGH!

DAEMEN

I'm GOING TO GO AWAY NOW. 

ROGER GILMOUR

GOOD!

DAEMEN WALKS OFF STAGE. ROGER CONTINUES TO MUTTER TO HIMSELF TYING UP HIS TIE. 

ROGER

UNBELIEVABLE. ALWAYS WANTS ATTENTION FOR HERSELF. 

ROGER GILMOUR LOOKS AT THE MIRROR. HE MUTTERS, ABOUT HOW MUCH HE RESEMBLES HIS FATHER. HIS EVER PRESENT SCOWL BIGGINS TO DEEPEN. HIS FATHER HAS BEEN DEAD EVER SINCE HE WAS A SMALL CHILD. HIS MOTHER COMES DOWN THE STAIRS. 

ROGER’S MOTHER

HOW ARE YOU DOING?

ROGER GILMOUR BRIEFLY STRUGGLES WITH THE TIE. 

ROGER’S MOTHER

(READJUSTING THE TIE)

SHAME YOUR FATHER WAS EATEN BY THOSE SPIDERS. 

ROGER GILMOUR

SHAME ABOUT HIM BEING SHOT DOWN BY THOSE BLOODY SPIDERS. 

ROGER GILMOUR’S MOTHER

IT WAS A LONG WORLD WAR. 

A BEAT. 

ROGER GILMOUR’S MOTHER

YOUR UNCLE CHESTER IS UPSTAIRS. DON’T MENTION THAT HE USED TO OWN A SPEAKEASY. HE’S A GOOD CATHOLIC MAN. 

THIS IS A CALLBACK TO DAEMEN’S BIAS AGAINST THE CATHOLIC COMMUNITY. ROGER GILMOUR GREAT UNCLE CHESTER USED TO OWN A SPEAKEASY IN HIS DAY. IN A MOVE OF REDEMPTION, HE HAS SINCE SOBERED UP, AND BECOME A CATHOLIC MINISTER. HE HAS BROKEN HIS FOOT AND HAS TO USE A CANE. ALL FAMILY MEMBERS NOW AGREE THAT A NOW SOBER UNCLE CHESTER HAS SINCE IMPROVED ON HIS LIFE, AND NOW HAS THREE KIDS. 

ROGER GILMOUR

I PROMISE I WON’T. 

AT THE FUNERAL. ROGER IS SITTING IN ON THE SOFA. 

DAEMEN

I REMEMBER WHEN MY GRANDFATHER DIED. 

SHE SMILES A BIT. 

DAEMEN

I WAS IN THE EIGHTH GRADE. I REMEMBER CRYING SO HARD, I GOT PULLED OUT OF THE CLASSROOM. THE ENTIRE DAY, I WEPT FOR MY GRANDFATHER. IT WAS TRAUMATIC BECAUSE HE WAS THE ONLY FIGURE IN MY LIFE. 

ROGER SPEAKS. 

ROGER GILMOUR

I WAS TWELVE WHEN MY GRANDFATHER DIED. 

A BEAT. 

ROGER GILMOUR

I DON’T REMEMBER REACTING AT ALL. I JUST REMEMBER LOOKING AT THE WAKE AND THINKING TO MYSELF, HE’S DEAD, HE’S DEAD, AND HE’S NOT COMING BACK. I TOLD MYSELF TO KEEP A STIFF UPPER LIP. I COULDN’T SHOW ANY EMOTIONS BECAUSE THAT TO ME, IS A SIGN OF WEAKNESS. 

WE SEE A YOUNG ROGER GILMOUR RUFFLING THROUGH A DESK. A PAPER READING, WE MUST REGRETFULLY REPORT THAT ROGER GILMOUR SR HAD BEEN SHOT DOWN IN HIS PLANE. ATTEMPTS TO RETRIEVE HIS BODY WERE IN VAIN. WE BELIEVE THAT HIS BODY WAS SUCKED DRY OF FLUIDS, AND HIS BODY IRRETRIEVABLE. THERE IS A STAMP TO MAKE YOURSELF FEEL LIKE YOUR HUSBAND ACHIEVED SOMETHING IN LIFE.

ROGER GILMOUR 

….

DAEMEN IS STANDING OVER HIM. 

ROGER

( SHAKES HIS HEAD)

NO. DON’T THINK ABOUT HER. 

DAEMEN HAS DISAPPEARED. 

ROGER GILMOUR

( TAKES A DEEP BREATH)

SHE’S GONE. 

HE BEGINS TO PICK UP A COOKIE. 

SYD IS WATCHING AS DIANA TRANSFORMS INTO A GIANT SPIDER. 

THE BASSIEST

( GAYLY WITH A LISP)

WELL MY DEARS, WE MUST GO ON!

IN AN VERY SUGGESTIVE MOVE, HE PUTS A HANDS-ON HIS HIP AND SASHAYS TO THE CENTER STAGE. DIANA GROANS. SHE PUTS ON THE GUITAR AND BEGINS TO PERFECTLY STRUM HER GUITAR. THIS IS UNREALISTIC, ACCORDING TO SYD. HE BEGINS TO COLLAPSE ONTO THE FLOOR. ALL OF HIS SENSORY OR FACTS BEGIN TO GO OFF. 

THE BAND BEGINS TO PERFORM. IT IS UNREALISTICALLY PERFECT SOUNDING. IT IS AS IF DAEMEN HAS NO IDEA HOW TO WRITE A BAND. OF COURSE, THE AUDIENCE LOVES THEM. THE STUDIO AUDIENCE BEGINS TO STAMP DOWN AND CLAP THEIR HANDS. THERE are WHISTLING AND CLAPPING. IN A MOVE OF SOCIAL JUSTICE, EVERYONE IS HAVING A GOOD TIME SINGING AND CLAPPING. THERE IS A FEELING OF GENERAL OPPRESSION THAT IS EVAPORATED BY PROGRESSIVE THOUGHTS, AND ACCEPTANCE FOR ALL. Except for THE POLICE. AND CATHOLICS. AND GENERALLY, ANYONE WHO DOESN’T AGREE WITH THE LEFTIST AGENDA, THAT THE AUTHOR IS TRYING TO SPREAD. THE BIG BAD COP, WALKS OFF, CURSING THE LIBERAL MINDED BAND THAT IS NOT A DIRECT COPY OF A HARD ROCK BAND WHO PRODUCED WE WILL THROW ROCKS AT YOU. 

A YOUNGER VERSION OF ROGER GILMOUR IS SHAKING SYD AWAKE. 

ROGER GILMOUR

SYD!

HE LOOKS PETRIFIED. SYD MUTTERS WHAT TIME IS IT, UNDER HIS BREATH. HIS WORDS ARE A BIT SLURRED BUT CLEAR AS HE FINDS THAT HE AND HIS BAND is UP NEXT. 

SYD

OH BOLLOCKS. 

THE YOUNG HORSE GETS UP FROM HIS POSITION. HE PUTS HIS GUITAR ON HIS BACK. INSTEAD OF THE DREAMY COLOR 1970S TV SHOW AURA, THE BACKGROUND IS NOW BLACK AND WHITE. THE BAND THAT PERFORMED EARLIER IS SITTING IN THE AUDIENCE STANDS. THERE IS A CAMERAMAN THAT SLOWLY BEGINS TO COUNT DOWN TO THE NUMBER ONE. HE GRINS AS HE POINTS AT THE BAND, INDICATING THAT IT IS HIS TURN TO PERFORM. 

THE TV ANNOUNCER

AND NOW THE INFLATED PONIES HIT, DISJOINTED FRAGMENTS. 

SYD THINKS TO HIMSELF, UH OH. 

SYD

(SIGNING)

FRAGMENTED THOUGHTS

THE BAND

(SIGNING)

UNICORN HORN

BY THE FIRST CHORUS, SYD IS DOING FINE. HOWEVER, BY THE SECOND CHORUS, HE IS DOING LESS THEN SPECTACULARLY. BY THE NEXT CHORUS, HIS LIPS BEGIN TO MOVE LESS AND LESS. HE TRIES IN VAIN TO LIFT HIS LIPS, BUT HE NO LONGER HAS THE ENERGY TO MOVE THEM. TO HIS HORROR, HIS LIPS ARE SEWN SHUT. HE CANNOT SCREAM, OR SING FOR THAT MATTER. HIS LIPS REMAIN PURSED IN A MILD SCOWL AS HE GLARES AT THE AUDIENCE. IN THE PREVIOUS SONG, I LOVE ACID, HE IS ENERGETIC.

FORTY MINUTES EARLIER

SYD IS SINGING I LOVE ACID WITH JUSTO. THE SONG IS ENERGETIC. HE CANNOT STOP BOUNCING AROUND. IT IS A GOOD MOMENT FOR THE BAND.

# NOW. SYD APPEARS DEAD INSIDE. THE CAMERA PANS REVEALING THAT HE HAS INDEED STOPPED SINGING. HE GIVES A DEATH GLARE TO THE CAMERA. THE REST OF THE BAND MEMBERS HAVE NOTICED THAT HE HAS STARTED TO BEHAVE ERRATICALLY ON THE TELEVISION. THE YOUNG ROGER GILMOUR STARTS TO FOCUS ON THE BASS. THE KEYBOARD PLAYER HAS BEGUN TO SMILE AS IF TO INDICATE THERE IS NOTHING WRONG. MOST OF THE BAND MEMBERS ARE THINKING TO THEMSELVES, THIS IS BAD. 

SYD EXITS HIS OWN BODY. HE BEGINS TO PLAY WITH THE GRASS THAT HAS SHOWN UP ON THE SCREEN. AFTER PLAYING WITH THE GRASS, THE PROCEEDS TO LICK THE STAGE. HE STRIPS OF HIS PANTS PANTING. 

SYD THINKS IT IS HOT. HE BEGINS TO REMOVE HIS SHIRT. THE SCREEN BECOMES VERY DISINEROTINED, WITH SYD GURATTING AGAINST THE BRICK WALL. HE BEGINS TO GRATE EVEN FURTHER. HE GIVES A PLEASURABLE MOAN AS THE ACID TRIP BEGINS TO CLIMAX. 

THE TRIP FEELS PLEASURABLE. HE STANDS AT THE CENTER STAGE, NUDE. HIS BODY IS SCRAWNY, BUT IT IS SOON REVEALED THAT THE SPOTLIGHT IS ON HIM. HIS BODY IS FOR ALL TO SEE. 

SYD WAKES UP FROM HIS NIGHTMARE.

# ROGER GILMOUR STANDS ON THE STAGE, NUDE. IN HIS NIGHTMARE, HE FINDS THAT HE IS CONSTANTLY REPEATING THE SAME DAY IN HIS HEAD. 

DAEMEN

LET GO OF THE PAST. 

ROGER GILMOUR

……

A BEAT. 

ROGER GILMOUR

YOU WANT TO TELL ME THAT?

A BEAT. 

THE CAMERA PANS AT ROGER GILMOUR INCREASINGLY DEEPING FROWN. 

DAEMEN

IT ISN’T TOO LATE. 

ANOTHER BEAT. 

ROGER GILMOUR

REALLY. 

DAEMEN NODS ENTHUSIASTICALLY. 

ROGER GILMOUR

( BEGINNING TO SCOWL A BIT)

STAY PRESENT? 

DAEMEN BEGINS TO SPEAK. 

DAEMEN

HAS IT OCCURRED TO YOU THAT YOU CAN CHANGE FOR THE BETTER? 

ROGER KEEPS SCOWLING. DAEMEN CONTINUES TO SPEAK. 

DAEMEN

MOSTLY EVERYONE CAN CHANGE, ROGER GILMOUR. 

DAEMEN

EVERYONE IS ON A JOURNEY. I'm ON A JOURNEY TO BECOME A BETTER PERSON. I'm GOING TO BECOME A BETTER PERSON. 

THE STAGE BEGINS TO DIM. 

DAEMEN

(SOFTLY)

REMEMBER THAT TEACHER WHO BEAT YOU AS A CHILD? HE IS BECOMING A BETTER PERSON. 

THE STAGE HAS BECOME VERY DIM. 

DAEMEN

GIVE SOME OF US A CHANCE. 

ROGER MOUTHS THE WORD “NO.” 

DAEMEN

WE DIDN’T MEAN TO HURT YOU, ROGER. WE’RE VERY SORRY. 

DAEMEN

THAT TEACHER IS VERY SORRY FOR CANING YOU AS A CHILD. 

DAEMEN CONTINUES. 

DAMEN

YOUR THREE EX-WIVES ALL WENT ON A SPIRITUAL JOURNEY. 

THERE IS AN IMAGE OF THREE WOMEN, ROGER HAS PRESUMABLY SLEPT WITH. THERE ARE GLOWING HALOS, SHOWING HOW DEVELOPED THEY HAVE BECOME. 

DAEMEN

WE’RE IN A LOT OF PAIN. BUT NOW I’VE LEARNED TO BECOME A MUCH BETTER PERSON. 

ROGER GIVES A SNEER.

ROGER GILMOUR

I'm AN ATHIEST. 

DAEMEN GIVES HIM “I AM HOLIER THEN YOU” LOOK. ROGER SNEERS AT HER. 

ROGER WAKES UP, SWEATING. HE IS GASPING FOR AIR. HE GRINS AS THOUGH HE HAS PASSED DAEMONS TEST. BEFORE HE CAN PUMP HIS FIST, HE HAS REALISED HE HAS URINATED THE BED. ROGER SLUMPS ON HIS BED. 

BRIAN MEOW

UH….

DAEMEN

(POUTING LIKE A SMALL CHILD)

WHY WON’T YOU PAY ATTENTION TO ME?

BRIAN MEOW STRUGGLES TO BREATHE.

DAEMEN

PAY ATTENTION TO ME! NOW!

BRIAN MEOW DOES NOT RESPOND TO THIS. 

DAEMEN

ARGH!

SHE WALKS OFF STAGE. SHE COMES BACK THROWING CLOTHES AT HIM. 

BRIAN MEOW WAKES UP. 


	13. enter the magical pony

**Summary for the Chapter:**

> We are introduced to several new characters. Pink pony reveals that she used to steal Daemons' work, erm "take credit" as a small child. no one remembers their original character.

Enter the magical pixie horse

What are we going to do now? Syd asked.

MEOW

I HAVE NO IDEA.

  
MEOW TAKES A DEEP BREATHE. HE SIGHS IN FRUSTRATION. HE IS GETTING READY FOR THE DAY. HE HAS JUST TAKEN A SHOWER.

MEOW

WHATS THE POINT? NOTHING IS EVER GOING TO CHANGE.

  
BOTH CHARACTERS FROWN AT THE SUBJECTIVITY OF MEOWS COMMENT. ROGER GILMOUR SCRATCHES HIS MANE WITH HIS HOOF.

  
ROGER GILMOUR

WHY DO YOU SAY THAT?

  
MEOW LOOKS AT HIM. HE GIVES A SHORT HOLLOW LAUGH AS HE DRIES OFF HIS HAIR WHICH HAS BEEN FLATTENED BY THE WATER.

  
MEOW

IT’S NOTHING, REALLY.

ROGER GILMOUR

NO. GO ON.

  
MEOW

I’M FINE. REALLY.

  
ROGER GILMOUR SCOWLS AT MEOW. THE CAT BEGINS TO AVERT EYE CONTACT. BY AVOIDING EYE CONTACT, HE CAN ALSO AVOID CONFRONTING THE SUBJECT ALTOGETHER

  
MEOW

IT’S NOTHING.

ROGER BEGINS TO EYE THE CAT SUSPICOUSLY.

  
ROGER GILMOUR

ARE YOU OK, MAN?

MEOW BEGINS TO LAUGH NERVOUSLY. HIS CHEEKS GROW RED AS HIS NERVOUS LAUGHTER BEGINS TO SHAKE A BIT.

  
MEOW

I’M FINE. TRUST ME.

  
ROGER GILMOUR AND MEOW BEGIN TO EYE EACHOTHER. IT BEGINS TO BECOME UNCOMFORTABLE TO WATCH. WE CUT TO MEOW FACING THE CAMERA. HE FORCES AN UNNATURAL SMILE ON HIS LIPS.

  
THE RACOON ENTERS THE ROOM.

  
RINGO THE RACOON

MORNING BOYS.

ALL THREE ANIMALS BEGIN TO FOCUS THEIR ATTENTION ON THE RACOON. RINGO HAS APPEARED TO BE DISHELVED. HE IS SLIGHTLY DIRTY FROM LAST NIGHTS ACTIVITIES. BY ACTIVITIES, WE, OF COURSE, ARE REFERRING TO A NIGHT AT THE CLUB.

  
MEOW

WHERE WERE YOU LAST NIGHT?

RINGO THE RACOON CONFIDENTLY SMILES AS THE CAMERA PANS TO HIM. HE APPEARS UNFAZED BY MEOW’S SUDDEN QUESTION.

  
RINGO THE RACOON

NOWHERE.

MEOW ROLLS HIS EYES.

MEOW

  
THAT IS COMPLETE BOLLOCKS.

  
SYD BEGINS TO LAUGH AT MEOWS UNCHARACTERISTIC USE OF A SWEAR. ROGER GILMOUR GIVES SYD A DIRTY LOOK WHICH SHUTS SYD UP. MEOW TURNS AROUND TO GIVE SYD A WEIRD LOOK.

  
MEOW  
  
IS HE ALWAYS LIKE THIS?

  
RINGO THE RACOON

NOT USUALLY.

  
MEOW BEGINS TO FACE RINGO THE RACOON. HE BEGINS TO STRAIGHTEN HIS POSTURE, AND HE COUGHS SLIGHTLY.

  
MEOW

  
NO…

HE CORRECTS HIMSELF.

MEOW

  
NOW…

MEOW KEEPS HIS ATTENTION ON RINGO THE RACOON. THE CAMERA CLOSES IN HIS FACE AS HE ASKS THE IMPERATIVE QUESTION.

  
MEOW

  
WHERE. WERE. YOU. LAST. NIGHT?

THE RACOON BEGINS TO STRUGGLE SPEAKING.

  
RINGO THE RACOON

  
I TOLD YOU. NOWHERE.

MEOW GIVES HIM A DISAPPROVING FROWN.

  
THE RACOON BEGINS TO LAUGH SOMEWHAT BITTERLY.

RINGO THE RACOON

I TOLD YOU…

  
MEOW

HAVE YOU BEEN SLEEPING AROUND?

RINGO THE RACOON BEGINS TO BECOME SHIFTY EYED. HE LOOKS AROUND NERVOUSLY AT THE REST OF THE GROUP. THE GROUP REFUSES TO BACK HIM UP, GIVING HIM A COLD HARD GLANCE.

  
MEOW

  
RINGO?

THE RACOON GIVES AN AUDIBLE SWALLOW AS HE PROCEEDS TO PROCESS HIS WORDS.

  
THERE IS AN OVER THE SHOULDER SHOT OF MEOW GIVING RINGO A GENTLE GLANCE. THE RACOON BEGINS TO SPEAK BUT DOES NOT. MEOW STANDS UP.

  
MEOW

  
I SEE THEN.

  
THE RACCOON SPEAKS SUDDENLY.

  
RINGO

DON’T PRETEND TO ACT-SO INNOCENT.

  
MEOW

EXCUSE ME?

  
RINGO THE RACOON

  
DO YOU NOT REMEMBER YOUR LITTLE PROBLEM?

MEOW GLARES AT HIM WHILE HE IS THINKING ABOUT HIS ANSWER. WE SMASH CUT TO AN OVER HEADSHOT OF MEOW VOMITING IN THE TOILET.

MEOW VOMITS. HIS HEAD IS DUNKED IN THE TOILET. HE PULLS HIS HEAD UP, HAVING SOMEWHAT VOMITED HIS GUTS OUT.

  
MEOW

UGH.

HE VOMITS SOMEMORE. HIS PAWS ARE GRIPPING THE TOILET.

  
MEOW

  
ACK.

HE CONTINUES TO VOMIT UNTIL THE VOMITING FADES AWAY INTO THE BACKGROUND. HE RAISES HIS HEAD OUT OF THE TOLIET.

  
MEOW  
  
THINK THAT'S THE LAST OF THEM.

MEOW RUBS HIS PAW AGAINST HIS MOUTH.

RINGO THE RACOON PAUSES FOR A BIT. MEOW HAS STOOD UP. HE REACHES FOR THE TOILET. THE TOILET MAKES AN AUDIBLE FLUSH.

  
MEOW

WELL, NO SHAME IN MAKING MISTAKES.

HE FACES THE TOILET. BEFORE HE COULD TURN AROUND, HE SLIPS ON HIS OWN VOMIT, HIS FOREHEAD SLAMMING ON THE LID.

  
MEOW

UHH!

HE LAYS ON THE FLOOR, HIS FOREHEAD HAS A SMALL CUT ON IT.

MEOW IS STILL ON THE FLOOR. HE IS INCREDIBLY INERABBATED.

  
MEOW

A LITTLE HELP PLEASE?

MEOW LIES ON THE FLOOR.

MEOW

  
GUYS?

  
MEOW LIES ON THE FLOOR. RINGO THE RACOON WALKS INTO THE SCENE.

  
RINGO THE RACOON.

  
OH NO. SWEETIE, WHAT HAPPENED?

MEOW GLARES AT RINGO THE RACOON. BEHIND THEM, TWO HORSES WEARING NOTHING BUT HOTEL MAID UNIFORMS ARRIVE BEHIND THEM. ONE IS BRIGHT BLUE, AND ANOTHER IS BRIGHT PINK.

  
BLUE HORSE

WE ARE THE FIRST OF DAEMONS TRAUMA.

  
PINK HORSE

  
WE COULDN’T HELP IT OF COURSE.

THE GROUP TURNS TO THE TWO HORSES. THE PINK HORSE SHRUGS AS SHE PICKS UP SOME OF THE LAUNDRY.

  
PINK HORSE

WHAT HAPPENED TO US?

  
THE BLUE HORSE.

THE BLUE HORSE

IT’S NOT OUR FAULT THAT WE WERE GREAT ARTISTS.

BOTH HORSES SPEAK.

BLUE HORSE

(SPEAKING OVER PINK HORSE)

Did WE use TO WORK TOGETHER IN SCHOOL?

  
PINK HORSE

(SPEAKING OVER THE BLUE HORSE)

  
WE DID!

BOTH HORSES PUT THE LAUNDRY IN THE BASKET.

  
PINK HORSE

WE USED TO BE PRAISED BY THE TEACHER.

BOTH ARTISTS LOOK AT EACH OTHER.

  
THE BLUE HORSE

WHAT HAPPENED TO US?

A BEAT.

THE PINK HORSE

  
WE GREW UP, BLUE. WE BECAME ADULTS.

  
THE BLUE HORSE BEGINS TO POUT.

THE PINK HORSE

BUT LOOK HOW MUCH MONEY WE MAKE.

SYD IS ON THE COMPUTER.

  
THE PINK HORSE

DON’T BOTHER COMING ON TO HER SITE. SYD.

SYD LOOKS UP FROM THE COMPUTER.

  
SYD

THE FLASH IS BLOCKED.

THE BLUE AND PINK HORSE BEGIN TO LOOK AT EACHOTHER.

  
THE BLUE HORSE

  
OF COURSE, IT IS.

THE PINK HORSE INTERJECTS.

THE PINK HORSE

IT’S PARANOIA.

SYD THE HORSE GIVES THEM A BAFFLED LOOK.

  
SYD

  
EXCUSE ME?

  
THE BLUE HORSE

  
SHE IS PARANOID.

  
THE BLUE HORSE

DAEMEN IS PARANOID.

THE THREE CAST MEMBERS WALK UP TO THE TWO HORSES.

  
THE BLUE HORSE

THE PARANOIA,

SHE PAUSES FOR EFFECT.

  
THE BLUE HORSE

  
IT IS A STORM THAT HAS CLOUDED HER MIND. SHE CANNOT THINK WITHOUT LOOKING OVER HER SHOULDER. SHE IS ALWAYS AFRAID OF WHAT PEOPLE ARE THINKING OF HER, AND WHAT THEY ARE DOING TO CONSPIRE AGAINST HER. SHE IS AFRAID OF PEOPLE CONSPIRING TO MURDER HER. THE PARANOIA IS AND WILL ALWAYS KEEP RUNNING AFTER HER.

  
THE BLUE HORSE

  
I USED TO BULLY HER IN SCHOOL.

  
A PAUSE.

  
THE BLUE HORSE

  
SHE WENT AFTER ME IN SCHOOL. WROTE ME AS THE VILLAIN IN HER FANTASY FINAL FIC.

ENTER THE PENGUIN

JOHN-THE-HORSE IS SITTING ON THE STAGE. A PENGUIN SHOWS UP RIGHT BEHIND HIM.

  
JOHN THE HORSE

IT’S SO ODD.

  
PENGUIN

  
WHAT IS?

  
JOHN THE HORSE

  
LIFE IS PARTICULARLY STRANGE.

  
PENGUIN

CAN YOU CLARIFY?

  
JOHN THE HORSE GIVES HIM A FORLORN LOOK.

  
JOHN THE HORSE

YOU’LL UNDERSTAND WHEN YOUR OLDER.

  
PENGUIN

AH.

THE BLUE AND PINK HORSE ARE FACING THE CAMERA.

  
BLUE HORSE

  
YOU KNOW WHEN WE WERE KIDS, WE USED TO STEAL DAEMONS ARTWORK.

  
PINK HORSE

  
NOT STEAL. TAKE CREDIT.

  
BLUE HORSE

AH.

THE PINK HORSE WAGS HER HOOF AT THE BLUE HORSES MISTAKE.

  
PINK HORSE

  
WHEN WE WERE KIDS, WE USED TO WORK ON THIS PROJECT. I USED TO DRAW SO WELL. THE TEACHER WOULD HEAP PRAISES UPON MY WORK.

THE PINK HORSE FROWNS AT HER STATEMENT.

  
PINK HORSE

  
WE NEED TO GO.

OUTSIDE OF DEMOINES.

  
SYD

TURN ON THE RADIO.

  
BEFORE ROGER GILMOUR CAN RUDELY INTERJECT, THE BLUE HORSE GRABS HIS HOOF. ROGER GILMOUR BRIEFLY FLINCHES AS THE BLUE HORSE CONTINUES TO HOLD ON TO HIS HOOF. ROGER GILMOUR GIVES A BRIEF YELP BEFORE THE BLUE HORSE SHOOTS HIM A GLARE BEFORE HE QUIETS DOWN. THE PINK HORSE TURNS ON TO THE RADIO.

THE BLUE HORSE

(WHISPERING)

YOU ARE IN PAIN.

ROGER GILMOUR DOES NOT REACT WELL TO THIS ACCUSATION. HE FLINCHES BEFORE HE SEES THE BLUE HORSE LOOK INTO HIS EYES. HE GLANCES AT THE WINDOW. THE TOWN SIGN READS, WELCOME TO IDEALVILLE.

  
ROGER GILMOUR

WHAT THE HELL?

  
THE BLUE HORSE CLUTCHES ROGER GILMOUR ARMS. HE DOES NOT YELP THIS TIME. SYD NOTICES THE SIGN. HE MAKES NO NOISE AS HE KEEPS HIS FOCUS ON THE STREET SIGN. THE YOUNG HORSE SITS STILL AS HE NOTICES THAT HE IS GIVING THE THOUSAND MILE STARE AT THE REVIEW MIRROR.

THERE IS A PAUSE.

ROGER GILMOUR APPEARS QUITE SAD AS THE BLUE HORSE UNCLUTCHES HIS ARM. SHE LOOSENS UP AS SHE LOOKS OUT THE WINDOW.

THE BLUE HORSE

(FRIENDLY)

WELCOME TO IDEALVILLE.

ROGER GILMOUR LOOKS SADLY AT THE BLUE HORSE, WHO BEGINS TO SPEAK IN A CHEERFUL MANNER.

THE BLUE HORSE

ISN’T THIS A LITTLE SCARY?

  
ROGER GILMOUR LEANS BACK IN THE SEAT. HIS EYES ARE FOGGED WITH SADNESS. HIS LIFE IS FLASHING BY AS HE CONTINUES TO LOOK AT THE PASSING CITY. LIFE SEEMS SO STRANGE, HE MUSES HIMSELF. HE SMILES SADLY AS HE PONDERS HIS LIFE CHOICES. FRANKS INTRA PLAYS ON THE RADIO. HE GIVES A BRIEF GROWL AS FRANK INTRA CONTINUES TO PLAY ON THE RADIO.

  
A BEAT

ROGER GILMOUR

…………………….

A BEAT  
ROGER GILMOUR

GODDAMMIT.

ROGER GILMOUR STEPS OUTSIDE OF THE CAR.

  
ROGER GILMOUR

  
I SURE ENJOY TAKING A P-

  
PINK HORSE

(INTERRUPTING)

THIS LANGUAGE IS UNBEKNOWNST TO YOU ROGER.

  
ROGER GIVES HER THE HOOF WHILST ADMIRING THE FAST FOOD RESTAURANT. THE HOOF TO HORSES IS THE HUMAN EQUIVALENT OF THE MIDDLE FINGER. THIS TO HORSES IS CONSIDERED QUITE RUDE. ROGER DOES NOT URINATE ON THE ROAD, WHICH IS GOES UNNOTICED BY EVERYONE IN THE CAR. ROGER GILMOUR NOTICES THE PINK HORSE WALKING OUTSIDE THE CAR.

  
ROGER GILMOUR

OH F-

A TRUCK GOES BY ROGER GILMOUR MAKING A SHARP BLAST. ROGER SHAKES HIS HEAD AND GIVES THE HOOF AGAIN. PINK HORSE SHAKES HER HEAD, IN ANNOYANCE. A SLAM OF THE CAR DOOR INDICATES THAT SHE IS INSIDE MEOWS VEHICLE

  
ROGER GILMOUR

(QUIETLY)  
WHY DOESN’T SHE UNDERSTAND THAT MY FATHER DIED IN THE GREAT SPIDER WAR?.

HE GETS BACK IN THE CAR. THE CAR BACKS OUT OF THE GAS STATION AND FADES FROM VIEW. SYD HAS HIS FEET ON THE DASHBOARD. HE DOES NOT NOTICE THE FACT HE DOES NOT HAVE HOOVES. HE CONTINUES TO KICK HIS FEET UP AGAINST THE DASHBOARD.

ROGER GILMOUR

KEEP YOUR   
A TRAIN HORN BLASTS THROUGH

ROGER CONT.

ROGER GILMOUR  
….. FEET OF THE F….

A BLAST OF THE TRUCK MUTES ROGERS SWEAR. SYD SITS UP, LOOKING NOT VERY SHOCKED AT ROGER GILMOUR CHOICE OF LANGUAGE. SYD SILENTLY PUTS HIS FEET DOWN. THE PINK HORSE WRINKLES HER SNOUT AT ROGERS CHOICE OF WORDS.

PINK HORSE

PLEASE DON’T YELL AT SYD.

ROGER GILMOUR

OH F OFF.

RINGO THE RACOON FELT VERY PLEASED WITH HIS NEW BOYFRIEND.

PINK HORSE

SINCE WHEN DO YOU HAVE A BOYFRIEND?

  
RINGO THE RACOON

OH, THIS IS RICHARD.

RICHARD THE PENGUIN WAVES A HELLO WITH HIS PENGUIN WING. HE SEEMS NATURALLY DRESSED.

PINK HORSE

PARDON ME FOR ASKING, BUT IS THERE ANYTHING WE SHOULD KNOW ABOUT RICHARD’S PERSONALITY?

RICHARD

WHY THE HELL SHOULD I KNOW?

THE BLUE PONY UNHINGES HER JAW AT RICHARDS CHOICE OF LANGUAGE.

THE BLUE PONY  
  
DO YOU KISS YOUR MOTHER WITH THAT MOUTH?

THE PINK HORSE

NO, BUT I WOULD TOTALLY KISS YOU RIGHT NOW.

SHE WINKS. RICHARD GIVES THEM A BLANK STARE AT THE TWO COLORED HORSES. BLUE SPEAKS UP.

BLUE HORSE

IT SEEMS UNLIKELY THAT RINGO WOULD REFRAIN FROM SLEEPING WITH ANOTHER MAN OTHER THAN RICHARD.

RICHARD

DON’T BE STUPID.

RICHARD THINKS FOR A MOMENT BEFORE ANSWERING. HE TURNS TO HIS PARTNER, WHO IS GIVING HIM A BLANK STARE. RICHARD DOES NOT SAHAY, BUT HE DOES PUT HIS HANDS ON HIS HIPS.

RICHARD

RINGO, YOU WOULDN’T DO THAT WOULD YOU?

RINGO THE RACOON

( LESS THEN CHEERFULLY)

NO. I’VE BEEN CLEAN FOR TWO YEARS.

  
WE CUT BACK TO EVERYONE IN THE CAR.

RICHARD

(NARRATING)

SOMETIMES BEING IN COLLEGE SUCKS. ESPECIALLY IF YOU’RE A PENGUIN.

SMASH CUT TO DAEMEN.

DAEMEN

SHY AUTISTIC ME HAD A HARD TIME WITH THE SOIRIOTY SISTERS. I DIDN’T LIKE BOYS, AND I WAS AFRAID OF BOYS. I THINK I MIGHT BE ON THE SPECTRUM BECAUSE I HAVE A HARD TIME RELATING TO PEOPLE.

  
RICHARD

FIRST OF ALL, THAT IS COMPLETE BULL CRAP.

RICHARD

BEING ON THE SPECTRUM IN COLLEGE SUCKS BALLS. I CANNOT FOCUS FOR THE LIFE OF ME. I CANNOT WRITE GOOD NOTES DURING LECTURES. I CANNOT THINK FOR MYSELF, BECAUSE I THINK TOO MUCH.

  
RICHARD

I DON’T THINK MY NAME IS RICHARD.

A BEAT.

RICHARD THE PENGUIN  
  
I AM SAM. THE AUTISTIC PENGUIN. I LIVE IN THE ANTARCTIC. THE ANTARCTIC IS BELOW FREEZING, WHICH IS FANTASTIC FOR US PENGUINS.

WE SEE SAM IN A FROZEN TUNDRA. THERE ARE A BUNCH OF PENGUINS IN THE ICY TUNDRA. A PENGUIN WADDLES OVER TO a SEAL. THE SEAL LEAPS UP FROM THE ICY WATERS AND NEARLY CHOMPS HIS OFF HEAD.

SAME DAY

SAM THE PENGUIN

I GET LOST FREQUENTLY.

SAM EVADES GETTING HIS HEAD CHOMPED OFF. HE WADDLES BACK TO THE GROUP OF PENGUINS. THE PENGUINS IGNORE SAM THE PENGUIN. HE WADDLES BACK DEJECTEDLY.


	14. several acts of god

**Summary for the Chapter:**

> Each character faces the wrath, of the alpha, a merciless god. In order to defeat Daemen, each character has to learn how to deal with the concept of death.

WOLF 

GOOD MORNING MAGGOTS.

  
  


NO ONE SPEAKS AT THE MENTAL HEALTH FACULTY. THE WOLF MOVES TOWARDS THE MENTAL HEALTH PATIENTS. ONE OF THE PATIENTS RECOILS IN FEAR. SHE BLOWS HER WHISTLE, CAUSING ONE OF THE PATIENTS TO FLINCH. SHE IS FACING THE PATIENTS. DAEMEN IS FACING HER. SHE’S GOING TO FOLLOW DIRECTIONS. JUST GO THROUGH THE MOTIONS, SHE THINKS TO HERSELF. 

WOLF

( ABOUT TO BLOW WHISTLE)

WE’RE GOING TO DO SOME EXERCISES. 

WOLF BLOWS WHISTLE, CAUSING SOME OF THE PATIENTS TO RUN ACROSS THE LINE. SOME OF THE PATIENTS BEGIN TO SLOW DOWN. THEY CONTINUE RUNNING. IT IS HARD FOR THEM TO KEEP UP. ONE OF THE PATIENTS BEGINS TO SLOW DOWN. 

THE WOLF BLOWS THE WHISTLE. 

THE PATIENT 

OH COME ON!

THE ALPHA SITS IN THE ROOM. HE FROWNS SLIGHTLY AT THE GROUP AT HIS FEET. THE BLUE HORSE BEGINS TO EXPLAIN THE SITUATION, VERY EMBARRASSED. 

SYD THE HORSE

( CALMLY)

WE DIED.

MEOW THE CAT

DIED?

  
  


MEOW THE CAT BEGINS TO GLANCE AT SYD NERVOUSLY. HE GIVES OUT A SHALLOW CHUCKLE. 

MEOW THE CAT

WE DIDN’T DIE.

HE LOOKS AT ROGER GILMOUR, LOOKING FOR CONFIRMATION THAT THEY DIDN’T DIE. 

ROGER GILMOUR

( GLOOMY )

MEOW, I BELIEVE WE DID DIE. 

MEOW

  1. IT CAN’T BE. I HAVE SO MANY YEARS LEFT. 

MEOW THINKS FOR A MOMENT. HE GRABS HIS GUITAR. HE CLUTCHES IT CLOSE TO HIM. 

MEOW

( CHEERFUL)

NOT YET. 

SYD GLANCES AT HIM BLANKLY. MEOW TURNS TO HIM CLUTCHING HIS GUITAR. HE BECOMES NERVOUS, TURNING AWAY FROM SYD. 

SYD THE HORSE

OH WELL, IT WAS A GOOD ONE WHILE IT LASTED. 

MEOW SHAKES HIS ENTIRE BODY INDICATING NO. 

MEOW THE CAT

EXCUSE ME, BUT SURELY YOU'RE JOKING RIGHT?

SYD GIVES HIM A BLANK STARE. 

  
  


MEOW THE CAT

DIDN’T YOU EXPERIENCE MENTAL DETERIORATION, AND BECOME A TOTAL RECLUSE, LIVING IN YOUR MOTHER'S BASEMENT, DYING ALONE IN YOUR SIXTIES OF PANCREATIC CANCER?

SYD THE HORSE FALLS SILENT. 

THE PINK HORSE SPEAKS UP. 

THE PINK HORSE

SYD THE HORSE PAINTED, WHICH WAS HIS LIFE PASSION. 

MEOW THE CAT TURNS TO THE PINK HORSE. 

MEOW THE CAT

HE DIDN’T GET MARRIED OR HAVE KIDS. 

PINK HORSE

DIDN’T YOU HAVE AN EXTRAMARITAL AFFAIR WITH YOUR FIRST WIFE? 

MEOW FALLS SILENT. 

MEOW

NO COMMENT. 

THE ALPHA ARRIVES BEFORE THE GROUP. SAM THE PENGUIN TRIES TO RUN OFF BEFORE HE FREEZES. THE ALPHA LOOKS AT THE GROUP TRYING TO THINK. FINALLY, HE SNAPS HIS FINGERS, STARTLING THE GROUP. 

THE ALPHA

( CONFIDENTLY) 

I HAVE AN IDEA. 

HE POINTS AT SAM THE PENGUIN. 

THE ALPHA

YOU. FIGHT THE BEAST THAT LIVES IN THE CAVE. 

  
  


SAM

WHAT?

THE ALPHA CONTINUES TO POINT AT SAM. SAM DOES NOT MIND, BUT HE SLOWLY REALIZES THAT HE IS DISAPPEARING. HE BEGINS TO RESIST BUT SLOWLY GIVES IN. HIS BODY BEGINS TO DISSOLVE, LEAVING NOTHING. THE GROUP looks ON IN TERROR. 

THE ALPHA

(GRINNING)

FIRST DOWN. 

MEOW 

( ASSERTIVE)

WE ARE ALL ON A SPIRITUAL JOURNEY.

HE INCHES CLOSER TO THE ALPHA. NEARING SUBMISSIVENESS, HE MERCIFULLY GLANCES AT THE ALPHA. 

MEOW

( STILL ASSERTIVE)

WE’RE STILL GROWING AS HUMAN BEINGS. IT ISN’T TOO LATE TO CHANGE, EVEN IF YOUR AT MY AGE, WHICH IS FORTY. I BELIEVE PEOPLE CAN BE GOOD. I BELIEVE THAT THERE ARE NO BAD APPLES. I BELIEVE IN CHANGE. PEOPLE CAN CHANGE, PEOPLE CAN CHANGE, PEOPLE CAN CHANGE. I CAN CHANGE. I CAN CHANGE. I CAN CHANGE. I CAN CHANGE.

THE ALPHA LOOKS AT HIM, SEEMINGLY AMAZED. 

MEOW THE CAT

( STILL ASSERTIVE)

I BELIEVE IN SURRENDER.

THE ALPHA LOOKS AT HIM. HE TURNS HIM INTO A DUNG BEETLE. HE HANDS THE DUNG BEETLE SEVERAL CLEANING SUPPLIES AND POINTS TO AN OVER CLOGGED TOILET INDICATING IT’S DIRTY. THE DUNG BEETLE ROLLS ONTO SOME FECAL MATTER, COVERING ITSELF IN POOP. WHAT REMAINS OF THE CREW IS SYD THE HORSE, AND ROGER GILMOUR, RINGO THE RACOON, BLUE HORSE, AND PINK HORSE. 

THE BLUE HORSE FINDS HERSELF BEING CALLED UP. 

THE BLUE HORSE

WHAT?

THE ALPHA POINTS TO HER. 

THE ALPHA

YOU WILL BE SEPARATED FROM PINK. 

THE PINK HORSE SHAKES HER BODY IN HORROR. SHE RUSHES UP TO THE BLUE HORSE SOBBING. THE BLUE HORSE SOBS BACK. 

THE PINK HORSE

NO! 

THE BLUE HORSE

OMG! I MISS YOU SO MUCH!

THE ALPHA POINTS AT THE BOTH OF THEM, THUS STARTING THE SPELL. BOTH HORSES VANISH, CRYING INTO THIN AIR. 

RINGO THE RACOON, SYD THE HORSE, AND ROGER GILMOUR ARE LEFT STANDING. THE ALPHA IS STANDING UNCOMFORTABLY CLOSE TO RINGO. HIS FINGER IS ABOUT TO CARESS RINGO'S FOREHEAD. 

THE ALPHA

( STOPPING)

RINGO THE RACOON LOOKS AT HIM CONFUSED. THE ALPHA GRAZES HIS HEAD. THERE BENEATH THEM IS A QUAINT TOWN. IT APPEARS TO BE STUCK IN THE 1950S. RINGO THE RACOON LOOKS AT HIM. HE DOES NOT SMILE. IT APPEARS TO BE QUITE SAFE. 

RINGO THE RACOON

I'm CONFUSED. 

THE ALPHA GUIDES HIM TO A REHAB CENTER. RINGO’S EXPRESSION BRIGHTENS SLIGHTLY. 

RINGO THE RACOON

WHY?

THE ALPHA PUTS HIS ARM AROUND HIS SHOULDER. HE WALKS RINGO OUT OF THE ROOM. RINGS VOICE CAN BE HEARD OFFSCREEN. HE DOES NOT SEEM TO BE IN PAIN. 

RINGO

I DON’T UNDERSTAND…

ONLY ROGER GILMOUR AND SYD THE HORSE REMAIN. SYD LOOKS ON WHILE ROGER LOOKS AT THE ALPHA. 

THE ALPHA

TOUGH MAN. LIKES PLAYING THE GUITAR DON’T YOU?

ROGER GLAMOUR GIVES A SATISFIED NOD. THE ALPHA CROSSES HIS ARMS. HE BEGINS TO SCRATCH HIS HEAD. 

THE ALPHA 

TELL YOU WHAT, YOU WANT TO BE IN THE BIG LEAGUE?

ROGER GILMOUR NODS ENTHUSIASTICALLY. THE ALPHA SMILES AT ROGERS ENTHUSIASM. 

THE ALPHA

WELL, THAT’S GREAT. 

THE ALPHA WIPES AWAY A PORTION OF CLOUD, REVEALING A MAGNIFICENT BEAM OF LIGHT. WHAT ROGER GILMOUR FAILS TO SEE IS THAT HE IS BICKERING WITH HIS MATES. HE WANTS IT ALL. HE FAILS TO NOTICE THAT HE AND HIS MATES HAVE STARTED FIGHTING TO THE POINT THAT ONE OF THE BANDMATES BECOMES DISGUSTED WITH HIM. THE BANDMATE GIVES ROGER GILMOUR A DEADLY GLARE BEFORE HUFFING OUT OF THE ROOM. WE HEAR THE SHARP SLAM OF THE WOODEN DOOR. ROGER, NOW SLIGHTLY OLDER, IS STANDING IN THE ROOM. HE SNATCHES SOME PAPERS. SCENE ENDS.

IT’S JUST SYD AND THE ALPHA NOW. 

SYD THE HORSE

PLEASE TOUCH ME.

ALPHA

WHY SHOULD I DO THAT?

SYD THE HORSE

I AM READY FOR YOUR EMBRACE. 

THE ALPHA GIVES A BRIEF CHUCKLE AS HE CONTINUES TO EXAMINE SYD THE HORSE. WE SEE A BRIEF FLASHBACK OF SYD SITTING IN HIS LIVING ROOM. THERE ARE PHOTOGRAPHS NEATLY STACKED IN A PILE. HE IS STROKING A FIRE. HE BEGINS TO TOSS HIS SKETCHES INTO THE FIREPLACE. HE POKES THE FIREPLACE, MAKING SURE THAT THE EMBERS ARE KEPT IN PLACE. HE CONTINUES TO THROW EACH SKETCH IN THE FIREPLACE. 

SYD 

( TO SELF)

IT’S JUST AN IDEA.

  
  
  
  


WE SEE ANOTHER FLASHBACK. 

SYD IS CHOPPING BELL PEPPERS IN THE KITCHEN. HE CONTINUES TO DO SO. NO ONE IS BOTHERING HIM, WHICH IS SOMETHING HE LIKES. WE HEAR ANOTHER CHOP OF A BELL PEPPER. SYD IS HUMMING TO HIMSELF. WE SEE A YOUNG SYD THE HORSE LOOK ON AT HIS FUTURE SELF CHOPPING BELL PEPPERS, HUMMING A SAD DITTY. 

THE YEAR, OF COURSE, IS 2004. THIS IS INDICATED BY THE ROUND TELEVISION TALKING ABOUT THE BAND REUNITING FOR THE NATIONAL VIDEO AWARDS. SYD DOES NOT PAY ATTENTION TO THIS, INSTEAD PAYING ATTENTION TO THE BELL PEPPERS. SYD TOSSES THE REMAINS IN THE BIN. 

SYD THE HORSE

(BEGINNING TO SMILE A BIT)

THIS ISN’T SO BAD. 

THE ALPHA AND SYD LOOK AT EACHOTHER. SYD BEGINS TO UNDERSTAND THAT ISOLATION, CAN LEAD TO CURIOSITY. SYD THE HORSE BEGINS TO REALIZE THAT LIFE ISN’T SO BAD AFTER ALL. HIS LIFE AFTER THE BAND CONSISTED OF PAINTING, WHICH WAS HIS LIFE PASSION. IN A MOMENT OF DARKNESS, HE TAUGHT HIMSELF HOW TO LIVE INDEPENDENTLY UNDER HIS MOTHERS ROOF. THE ALPHA BEGINS TO EMBRACE SYD THE HORSE. THE EXPRESSION ON SYDS FACE SHOWS THAT HE HAS FOUND PEACE WITHIN HIMSELF. HE TAUGHT HIMSELF TO COOK AFTER ALL. 

SYD THE HORSE

REDEMPTION. 


	15. everyone is tired

**Summary for the Chapter:**

> The raccoon finds himself in rehab. Roger Gilmour is frustrated with life.

  
  


THE TITLE SCREEN INIDCATES THAT SOME MONTHS HAVE PASSED. IT IS NOW MAY. SAM THE PENGUIN HAS BEEN OUTSIDE. HE FINDS HIMSELF IN THE MENTAL HEALTH CENTER. 

SAM THE PENGUIN

IT’S BEEN FIVE MONTHS SINCE I TECHNICALLY DIED. I GAVE MYSELF A NEW NAME. A NEW IDENTITY. 

A BEAT. WE PAN OUT TO SEE SAM THE PENGUIN IN THE WRONG CLINIC. 

MENTAL HEALTH COACH

( JOYFULLY)

LET’S SEE SOME SMILES!

A BEAT. 

SAM THE PENGUIN

SOMETIMES IT FEELS LIKE I’M BEING FORCED FED DOPAMINE. OR IN OTHER WORDS, HAPPINESS. 

SAM THE PENGUIN

IS ANYONE LISTENING?

  
  
  
  
  
  
  
  


WE SEE DAEMEN AND RACOON IN THE SUICIDE WARD. 

DAEMEN

I THOUGHT ABOUT K-

THE RACOON INTERRUPTS HER. HE BEGINS TO STAND UP FROM HIS CHAIR. 

RACOON

(MOCKINGLY)   
  


YOU THOUGHT ABOUT KILLING YOURSELF. 

HE GIVES A BITTER LAUGH. DAEMEN LOOKS SHOCKED. 

RACOON

( MOCKINGLY)   
  


ISN’T LIFE JUST A GAME?

RACOON

(MOCKINGLY)

ISN’T IT?

DAMENE TRIES TO SPEAK UP. RACOON BEGINS TO SPEAK OVER DAEMEN. 

RACOON

( SARCASTICALLY)

JUST GET OVER IT, DAMEN. 

DAEMEN LOOKS SHOCKED AT RACOONS STATEMENT. 

RACOON 

( BITTERLY)

MAYBE YOU SHOULD’VE JUST GOTTEN IT OVER WITH. SAVE PEOPLE THE TROUBLE. 

RACOON

( TO SELF)

MAYBE I SHOULD HAVE JUST DONE IT. 

HE GIVES A SHAKE OF HIS HEAD. HE PUTS HIS HEAD IN HIS PAWS. HE SHOOTS HIS HEAD UP. 

RACOON

( BARKING)

WHAT ARE YOU DOING YOU, STUPID GIRL?

DAEMEN REELS BACK. 

DAEMEN

YOU DON’T HAVE TO BE SO MEAN. 

  
  


THE RACOON IS SITTING ALONE AT THE REHAB CENTER. 

THE RACOON

IT’S BULL. ALL OF IT. 

HIS SPONSOR SITS CLOSE TO HIM. HE PUTS HIS ARM AROUND THE RACOON. 

THE RACOON

WHAT AM I DOING WITH MY LIFE?

HIS SPONSOR SAYS NOTHING. 

THE RACOON

IS THIS MY LIFE?

THE SPONSOR SAYS NOTHING, KEEPING HIS ARM AROUND THE RACOONS SHOULDER. 

  
  
  


ELSEWHERE WE SEE ROGER GILMOUR IN THE STREETS OF HOLLYWOOD. HE IS BUSKING IN THE CITY. HE PICKS UP HIS INSTRUMENT. HE WALKS INTO A STUDIO. 

ROGER GILMOUR

DOES ANYONE NEED ME?

ONE OF THE MUSICIANS GIVES A BARELY AUDIBLE GRUNT, GESTURING TO THE TRASH CAN. 

MUSICIAN

YOU CAN CLEAN UP THE TRASH CANS. 

ROGER GILMOUR

GREAT. 

HE PROCEEDS TO PICK UP SOME OF THE TRASH ON THE FLOOR. 

  
  


WE SEE ROGER GILMOUR PLAY HIS INSTRUMENT. HE CONTINUES TO PLAY HIS BASS. HE BECOMES INCREASINGLY AGGRAVATED. HE GIVES A GROWL UNDER HIS BREATH AND THROWS THE BASS IN THE TRASH CAN. 

ROGER GILMOUR

ARGH. 

HE PUTS HIS HEAD ON HIS DESK. SOMEHOW THE PAIN WILL GO AWAY. HE PUTS HIS HEAD ON THE DESK. 

ROGER GILMOUR

GAHH. 

NOTHING SEEMS TO WORK. HE BANGS HIS HEAD ON HIS DESK. THAT DOESN’T SEEM TO WORK. HE GROWLS ONCE MORE. HE SLAMS HIS HEAD ON THE MIXING DESK. 

  
  
  
  
  


THE RACOON

I DON’T DESERVE TO BE HAPPY. 

HE PAUSES FOR A MOMENT. HE PUTS HIS HEAD IN HIS PAWS. BECOMING IDEALLY SOBER HURTS. HE CONTINUES TO PUT HIS HEAD IN HIS PAWS. NO ONE IS WITH HIM. 

RACOON

( WRITING)

I HATE MYSELF FOR SAYING THIS BUT BEING ALIVE SUCKS. 

HE SCRATCHES OUT THE LINES. HE TEARS UP THE PAPER, TEARS RUSHING TO HIS FACE. HE TEARS UP THE PIECES OF PAPER. 


	16. PENGUIN

**Summary for the Chapter:**

> A PEGUIN EXPLORES THE UNKNOWN PLACE. IT APPEARS QUITE DANGEROUS.

SAM THE PENGUIN

WHAT DOES IT MEAN BY DESTROY THE DEMON UNDERNEATH THE CAVE? 

MENTAL PATIENT 

( CHEERFULLY)

SURE THING ABOUT THE DEMON UNDERNEATH THE CAVE. 

MENTAL PATIENT AGREES WITH HIM. THE TWO PATIENTS NOD AT EACH OTHER. 

MENTAL PATIENT 2

LETS STAY AWAY FROM THAT CAVE. 

MENTAL PATIENT

AGREED. 

SAM UNINTENTIONALLY STARES AT THE TWO PATIENTS. HE LOOKS AT THE CAVE ENTRANCE. DAEMEN DOES NOT RECOGNIZE THIS GUY. 

SAM THE PENGUIN

THIS IS ODD. 

HE PEERS AT THE CAVE ENTRANCE.THE CAVE ENTRANCE STARES BACK MENACING. 

SAM THE PENGUIN

( GULPING)

SURELY, PEOPLE HAVE BEEN THROUGH CAVES. TECHNICALLY SPEAKING IT SHOULDN’T BE TOO HARD TO GO THROUGH A CAVE. 

A BEAT. 

SAM THE PENGUIN

WHAT’S THE WORST THAT COULD HAPPEN?

HE CONTINUES TO LOOK AT THE CAVE. THE CAMERA CLOSES IN THE CAVE. IT’S JUST A HOLE IN THE GROUND. WE PAN BACK TO SAM WHO IS PEERING AT THE CAVE. 

SMASH CUT TO SAM FINDING HIMSELF IN AN ABANDONED LAB. HE IS RUFFLING THROUGH THE DESK. HE HITS A BUTTON, CAUSING AN ENTRANCE TO OPEN UP. HE IS COMPLETELY ALONE. HE FINDS HIMSELF WALKING IN THE ENTRANCE. THE ROOM APPEARS TO BE COMPLETELY DESERTED. THERE IS SHATTERED GLASS ON THE FLOOR. IT IS UNSAFE FOR AN AUTISITIC PENGUIN TO BE IN THIS AREA.

SAM THE PENGUIN

THIS IS WHERE THE DEMON IS???

ONE OF THE CASES APPEARS TO BE COMPLETELY DESTROYED. 

SAM WALKS OVER THE SHATTERED GLASS. HE IGNORES THE PAIN IN HIS FLIPPERS. THERE IS A SIGN READING CAUTION: DANGEROUS MONSTER, WILL TAKE FORM OF ANYTHING. SAM THE PENGUIN OPENS UP A WALLET, WHICH SHOWS THE PICTURES OF MEOW, AND CO. THERE IS A RUSTLE WHICH CATCHES HIS ATTENTION. SAM THE PENGUIN TURNS HIS HEAD. HE FINDS THE BOOK WORLD OF BEASTS. THIS IS SOMETHING HE PLACES IN HIS INVENTORY. 

SAM THE PENGUIN

………..

SAM THE PENGUIN SAYS NOTHING BECAUSE HE KNOWS BETTER THAN TO SAY WHO’S THERE? 

  
  


OUT OF THE SHADOWS SOMEONE WALKS OUT. 

  
  


?????

HI?

SAM THE PENGUIN SAYS NOTHING. HE KNOWS BETTER THAN TO CONVERSE WITH STRANGERS. 

SAM THE PENGUIN

  1. I AM HERE TO SLAY A DEMON. YOU WOULDN’T KNOW WHAT A DEMON WOULD LOOK LIKE?

????

MY DEAR BOY, WHY WOULD YOU SAY THAT. COME OVER HERE. 

SAM THE PENGUIN

WHY SHOULD I?

THE ENVIRONMENT FEELS TENSE. THE MYSTERIOUS MAN KEEPS HIS VOICE STRAINED. 

?????   


( VOICE STRAINED, ALMOST GRITTING TEETH)   
  


BECAUSE DEAR BOY… I CAN HELP YOU DEFEAT THE BOY. 

#  SAM THE PENGUIN

(RELAXING A BIT)

WELL, THAT SEEMS REASONABLE. 

HE PAUSES FOR A MOMENT. HE TAKES a MOMENT TO LOOK FOR SOMETHING TO DEFEND HIMSELF WITH. THE BEST HE CAN DO IS

POCKET KNIFE FROM HIS STINT WITH THE BOY SCOUTS. SAM LOOKS DISAPPOINTED WITH THIS REVELATION. 

SAM THE PENGUIN

AH WELL. 

THE MYSTERIOUS STRANGER GLANCES AT HIS WALLET. THE PICTURES OF HIS FRIENDS ARE HANGING OUT. WE CUT TO AN EXTREME CLOSE UP OF THE PICTURE OF HIS FRIENDS. 

  
  


MYSTERIOUS STRANGER

COME WITH ME THEN. 

SAM FOLLOWS THE MAN DEEPER INTO THE CAVE. 

MYSTERIOUS STRANGER

SO YOUR BY YOURSELF ARE YOU? 

  
  


WE ARE IN THE DARKER PORTION OF THE CAVE. IT HAS BECOME MUCH COLDER. THERE IS STAGGLTITE. IT HAS BECOME VERY UNSAFE FOR AN AUTISTIC PENGUIN TO BE HERE. THERE IS EVEN MORE BROKEN BOTTLES. 

SAM THE PENGUIN

THIS IS EXCITING. SO WHO ARE YOU?

THE MYSTERIOUS MAN

YOU MAY CALL ME

A BEAT. 

THE MYSTERIOUS MAN

MYSTERY

  
  


SAM THE PENGUIN 

( TO SELF)

HOW ORIGINAL 

  
  



	17. it's just a kiss away...

**Summary for the Chapter:**

> More demons ensue.

Enter the red wolf

THE RED WOLF

LOOK AT THE PEOPLE

THE RED WOLF IS FACING THE CAMERA. THE PEOPLE ARE GETTING EVEN MORE FRUSTRATED. THEY ARE FIGHTING, BICKERING. THE PEOPLE ARE REPRESENTED BY STUFFED ANIMALS. THE RED WOLF GIVES A GRIN AS THE ANIMALS BEGIN TO TEAR EACH OTHER APART. THERE IS CLAWS SCRATCHING FACES. THE ANIMALS BEGIN TO BITE, AND HOWL. THERE IS GENERAL CHAOS. THE WORLD HAS BECOME LAWLESS.HOPELESS. WE SEE AN ANIMAL ON THE STREET. 

THE RED WOLF 

( SCOFFING)   
  


THE WORLD HAS GONE MAD HASN’T IT? 

THE RED WOLF GIVES A MILD GRIN TO THE CAMERA. THE RED WOLF POUNCES ON THE HOMELESS ANIMAL. THE CAMERA FADES AWAY AS HE DEVOURS THE POOR ANIMAL. 

  
  


THE RED WOLF

( IN BETWEEN BITES)

  
  
  


THERE IS A TABBY CAT IN THE CAVE. 

TABBY CAT

WAIT!

SAM THE PENGUIN

(RUDELY)

DO I KNOW YOU?

SAM THE PENGUIN TURNS AROUND TO FACE THE TABBY CAT. THE TABBY CAT IS SLIGHTLY TAKEN BACK BY SAM THE PENGUINS RUDENESS. 

THE TABBY CAT

SURE MAN, I LIKE THE CUT OF YOUR JIB. 

SAM THE PENGUIN LOOKS SLIGHTLY CONCERNED AT THE TABBY CATS PHRASING. 

THE TABBY CAT

SAM, WE KNOW EACH OTHER. 

  
  


SAM THE PENGUIN

NO WE DON’T. 

THE TABBY CAT IS HURT AND CONFUSED BY THIS.

SAM THE PENGUIN

PENGUIN TURNS AROUND. 

BESIDES I’M ALREADY GOING TO HANG OUT WITH MR. MYSTERY. 

  1. MYSTERY BUTTS IN. 

  1. MYSTERY

SAM, DON’T LISTEN TO HIM. HE’S PART OF THE MACHINE, SHALLOW CLINGING TO SOCIAL MEDIA. 

WHILE MR. MYSTERY IS SPEAKING, THE TABBY BECOMES CONFUSED.HE HOLDS OUT A PHONE, WHICH IS FLAT. MR. MYSTERY ROLLS HIS EYES. 

TABBY CAT

THIS DOESN’T LOOK LIKE A PHONE. 

  1. MYSTERY NODS. SAM THE PENGUIN LOOKS AT HIM, BEWILDERED, THAT SOMEONE DOESN’T KNOW WHAT A PHONE LOOKS LIKE.

  
  
  
  


TABBY CAT POUNCES AT THE PENGUIN. 

TABBY CAT

HEY MAN, WANT TO BE FRIENDS?

SAM LOOKS AROUND NERVOUSLY, THE TABBY CATS PAWS ARE AT HIS NECK. 

SAM THE PENGUIN

IF YOU CAN TELL ME WHERE THE DEMON IS. 

THE TABBY CAT GIVES HIM A ONCE OVER. 

TABBY CAT

GROOVY.

SAM GIVES A NERVOUS CHUCKLE AS THE TABBY CAT GETS BACK UP. 

  
  


SAM THE PENGUIN

( NERVOUSLY)

DID YOU TRY TO JUST KILL ME? 

THE TABBY CAT GIVES A SHRUG WITH HIS PAWS. HE GIVES A GENTLE SMILE AT SAM THE PENGUIN. 

  
  


ELSEWHERE MEOW IS CLEANING THE TOILETS. IN THE ROOM NEXT DOOR, THERE IS A BRAWL ENSUING. MEOW GLANCES UP FROM HIS CHORES. HE IS ROLLING IN A BALL OF DUNG. THE CAMERA PANS TO A BLOOD STAINED WALL. THERE IS PUNCHING, SCREAMING, KICKING. A FOX COVERS HIS BLEEDING SNOUT WITH HIS DARK PAW. THE DUNG BEETLE CANNOT SPEAK, BUT THE FOX IS ABLE TO.

THE ASTROPHYSICIST

HE LOOKS AT THE DUNG BEETLE. THE DUNG BEETLE STAYS ON HIS SHOULDER. AS HE LOOKS AT THE SETTING SUN, THE SCENE FADES TO A GORY MOMENT. MENTAL PATIENTS BEATING EACH OTHER UP. ONE OF THE PATIENT HIDES IN THE STALLS. ONE OF THE PATIENTS SHAKES ANOTHER AWAKE. WE CUT TO DAEMEN IN THE THERAPIST'S OFFICE. 

THERAPIST

WHAT HAPPENED?

  
  


DAEMEN

( SOBBING FRANTICALLY)

THE RACOON TOLD ME TO GO KILL MYSELF!

THE THERAPIST

  
  


AND HOW DOES THAT MAKE YOU FEEL?

  
  


WE SWITCH TO A DIFFERENT SCENE. DAEMONS ROOM MATE RACHEL IS STANDING ON THE LUNCH TABLE. 


	18. Daemon watchs the world burn

**Summary for the Chapter:**

> rumors fly. The daemon uses her newfound power to turn people against each other.

IN REALITY, THINGS COULD HAVE NOT GOTTEN ANY MORE WORSE. THE BEST WAY TO DESCRIBE THE SCENE IS TO AKIN IT TO A MASSACRE. PEOPLE ARE AT EACH OTHER'S THROATS. WE CUT TO a MENTAL PATIENT SCREAMING AT ANOTHER MENTAL PATIENT. FINGERS ARE BEING POINTED AT THE RACOON. 

OH. LET'S TALK ABOUT THE RACOON SHALL WE?

DUE TO DAEMONS ACCUSATION, NOT ONE SINGLE SOUL WANTS TO ASSOCIATE THEMSELVES WITH THE RACOON. RACOON IS THE ENEMY. WE SEE A MONTAGE OF THE RACOON EATING ALONE IN THE CAFETERIA. WE SEE A MONTAGE OF THE RACOON GETTING BEATEN UP QUITE SEVERELY. 

WE SEE A NOTE THAT READS GO DUCK YOURSELF. WE SEE PLENTY more NOTES WITH EVEN MORE NASTIER MESSAGES, SOME OF WHICH ARE GRAPHIC. SOME OF THEM ARE THREATS. SOME OF THEM ARE DEATH THREATS. 

THE RACOONS VOICE SHOOK AS HE READ SOME OF THEM. HE TORE UP SOME OF THE SCRAPS OF PAPER. HE PUTS A CHAIR BY THE DOOR. HE CURLS UP IN A BLANKET.

IRONICALLY, DAEMEN SPOKE ABOUT BEING BULLIED, AND HOW THIS IMPACTED HER AS A SMALL CHILD. THE RACOON CURLS UP TIGHTER IN A FETAL POSITION. HE TRIES FALLING ASLEEP BUT HE FINDS HIMSELF AWAKENED BY A POUNDING ON THE DOOR. THERE IS A SHATTER OF GLASS WHICH WAKES HIM UP. HE WAKES WITH A JOLT, FINDING HIMSELF WITH A ROCK THAT HAS A SIGN TAPED TO THE BACK. IT READS “ WE KNOW WHAT YOU DID TO DAEMEN.” 

  
DAEMEN IS SITTING AT THE CORNER OF THE MENTAL INSTITUTION. A SLOW SMIRK HAS FORMED AT THE CORNER OF HER LIPS. THERE IS A GROUP OF PEOPLE HELPING HER UP. OUTSIDE OF THE GROUP, ANOTHER PATIENT IS BEING EXAMINED BY THE NURSE. 

NURSE

ERIC, IT’S BEEN A WEEK IN THE HOSPITAL, AND YOU’VE STARTED CUTTING AGAIN. 

ERIC

( PORTRAYED BY A LOBSTER)

I TOLD YOU I’M FINE.

THE NURSE CONTINUES TO EXAMINE THE LOBSTERS BANDAGED CLAWS. ERIC SHOOTS A LOOK AT DAEMONS CLIQUE. HE SHAKES HIS HEAD. HE LOWERS HIS CLAWS. 

NURSE  
  
( GRUNTING)

I TELL YOU, I THINK THINGS ARE GETTING CRAZIER, WE’VE HAD TO PUT A DOZEN PATIENTS IN THE SUICIDE WARD. 

ERIC

YOU THINK THINGS ARE GETTING CRAZIER?

OUTSIDE OF THE MEDITATION ROOM SEVERAL PATIENTS ARE FIGHTING. A GENERAL FISTS IS FLYING. THE WOLF ARRIVES ON SCENE. THE WOLF PULLS THE TWO ANIMALS, WHO ARE STILL GOING AT IT, APART. THE TWO ANIMALS ARE BITING AT EACH OTHER. 

WOLF

HEY! HEY! WHAT IS GOING ON HERE? 

ONE OF THE PATIENTS, A GUINEA PIG, RAISES HER HEAD. THE GUINEA PIG POINTS HER PAW AT HER ASSAILANT. 

THE GUINEA PIG

SHE STARTED SPREADING RUMORS ABOUT DAEMEN. 

HER ASSAILANT SHAKES HER HEAD AGGRESSIVELY. HER ASSAILANT POINTS HER FLIPPER AT THE GUINEA PIG. 

THE DOLPHIN

YOUR BEING MANIPULATED!

THE TWO BEGIN TO CHARGE AT EACH OTHER. THE WOLF PULLS THEM BACK. THE WOLF EMITS A DEEP GROWL SILENCING BOTH OF THE PATIENTS. THE TWO PATIENTS FALL SILENT, TERRIFIED BY THE WOLF. 

WE SEE DAEMEN IN THE CORNER OF THE ROOM. 

DAEMEN

DON’T YOU PATRONIZE ME.

WHILE THIS IS GOING ON SHE DODGES THE KNIVES AND RAZORS BEING THROWN AT HER. SHE FACES THE CAMERA.

DAEMEN  
  
I AM NOT BROKEN. 

DAEMEN TURNS AROUND POSING WITH THE REST OF THE PATIENTS. THERE IS A MASSACRE GOING ON DURING THIS SEQUENCE. MOST OF THE PATIENTS ARE BULLYING EACH OTHER. THE FISTS ARE FLYING. ANIMALS ARE BITING EACH OTHER. 

DAEMEN

WHY DON’T YOU UNDERSTAND? 

A BEAT

DAEMEN  
  
I AM FINE!

  
DAEMEN

I DON’T NEED YOUR PITY!

A BEAT

DAEMEN

YOU WOULD NEVER UNDERSTAND ME!

A BEAT

DAEMEN

I TELL MY SECRET…

A BEAT

DAEMEN

… YOU WOULDN’T UNDERSTAND….

DURING THIS SONG, DAEMEN IS STEPPING OVER PATIENTS BULLYING EACH OTHER. WE SEE PATIENTS STABBING ONE ANOTHER. ONE PATIENT IS SOBBING WHILE WRITING. ANOTHER PATIENT BEGINS TO KICK ANOTHER IN THE STOMACH. IT BECOMES A VERY UNSAFE PLACE TO BE.


	19. Sam the demon hunter

SAM THE PENGUIN BEGINS TO BECOME NERVOUS. 

SAM THE PENGUIN

( NERVOUSLY)

WHICH ONE OF YOU IS THE DEMON?

BOTH THE TABBY CAT AND MR. MYSTERY BOTH LOOK AT HIM. THEY LOOK AT HIM IN SHOCK. 

THE TABBY CAT

( very annoyed)

FINE. 

HE WALKS UP TO SAM THE PENGUIN APOLOGETICALLY. HE OFFERS HIS PAWS IN SURRENDER. 

SAM THE PENGUIN

( softly)

NO…

SAM THE PENGUIN TURNS TO FACE MR. MYSTERY. MR. MYSTERY’S FACE BEGINS TO SHIFT AS IF TURNING INTO PUTTY. HE BEGINS TO MELT VERY QUICKLY. 

MR. MYSTERY

ARGH!!!

THE TAPIR ARRIVES AT THE CAVE. 

THE TAPIR

WELL, THIS IS UNUSUAL. 

THE TAPIR BEGINS TO CROUCH DOWN AT THE HOLE. SHE BEGINS TO SLIP IN THE HOLE. WITHOUT BLINKING, SHE SLIDES DOWN THE HOLE. SHE DOES NOT SCREAM. SHE FALLS DOWN THE HOLE. THE TAPIR NOTICES THE SIGN WHICH READS, WARNING, BOILING WATER. 

THE TAPIR

( very surprised) 

WHAT IS THIS?

THE TAPIR TURNS ON THE NOZZLE. THE NOZZLE BEGINS TO GIVE A SLIGHT SQUEAL AS THE BOILING WATER RUSHES THROUGH THE RUSTY PIPES. WE HEAR A SCREAM OFFSCREEN. 

THE TAPIR

HMM.


	20. It was an cold morning

**Summary for the Chapter:**

> Roger discusses tramua. even more trauma ensues.

HMM.

THE TAPIR WALKS OFFSCREEN. SHE NOTICES THE BROKEN HOLE. SHE BECOMES WORRIED. 

THE TAPIR

( WORRIED)

SAM?

SAM DOES NOT RESPOND. 

  1. MYSTERY BEGINS TO SHIFT. HIS BODY BEGINS TO STRETCH AND SQUASH AS IF HE IS CLAY. HE GIVES OUT A ROAR. SAM THE PENGUIN BEGINS TO BACK AWAY FROM ME. MYSTERY. THE TABBY CAT DOES THE SAME, FOLLOWING SAM THE PENGUIN. 

THE TABBY CAT

DRAG. THIS IS NOT WHAT I HAD IN MIND. 

THE TABBY CAT BECOMES VERY NERVOUS. SAM THE PENGUIN PUFFS HIS CHEST, MAKING A THREATENING POSTURE. HE BEGINS TO WHACK THE MONSTER WITH HIS WINGS. HE BANGS AGAINST THE MONSTER, THROWING HIM OFF. THE PENGUIN. SAM BEATS THE MONSTER WITH HIS WING, SLAPPING HIM EVEN HARDER.AS SOON AS THE MONSTER LOOKS LIKE HE IS ABOUT TO PASS OUT, THE PENGUIN BEATS HIM WITH HIS WING. 

THE PENGUIN WALKS OFFSCREEN. UNBEKNOWNST TO HIM, THE GOO BEGINS TO REFORM. THE PENGUIN IS ABOUT THREE FEET FROM THE GOO MONSTER. 

THE GOO MONSTER

REMEMBER ME SAM?

SAM THE PENGUIN TURNS AROUND. IN THE GOO MONSTERS PALACE IS THE BLUE HORSE. SHE BEGINS TO LAUGH, ALMOST PSYCHOTICALLY. SAM THE PENGUIN PUTS HIM IN THE FREEZER. 

BLUE HORSE

( LAUGHING)

BLUE HORSE

  
NO ONE LIKES YOU SAM..

SAM THE PENGUIN DOES NOTHING BUT CONTINUE TO WATCH.THE BLUE HORSE MORPHS INTO DAEMEN. 

DAEMEN

YOU’RE JUST LIKE ME SAM. 

SAM THE PENGUIN DOES NOT RESPOND TO THIS. 

DAEMEN

ALONE

DAMEN CONT. 

DAEMEN

SCARED. 

DAEMEN CONT.

DAEMEN

AUTISIC

SAM THE PENGUIN BEGINS TO SPEAK OUT. 

  
  


SAM THE PENGUIN

NO.

SAM THE PENGUIN DOES NOT RUSH FORWARD. HE PAUSES FOR A BIT. HE REMEMBERS WHAT THE CAMEL HAS TAUGHT HIM ABOUT PRAYER. IN A FLASHBACK, WE SEE THE CAMEL BRIEFLY SCOLDING HIM ABOUT FOCUSING. HE IS GIVEN A SMALL SLAP FOR NOT PAYING ATTENTION WHEN HE IS KNEELING. HE KNOWS BETTER THAN TO NOT ATTACK DAEMEN. WE SEE JOHN-THE-HORSE IN A DARK ROOM. 

DAEMEN

OF COURSE I TRIED TO REACH OUT TO BRIAN MEOW. 

JOHN THE HORSE

( CUTTING IN)

IT’S POINTLESS, ISN’T IT?

DAEMEN IGNORES JOHN THE HORSES COMPLAINT. COMPLAINT. 

JOHN THE HORSE

WHO’S BRIAN MEOW?

THE THERAPIST LOOKS SHOCKED AT “DAEMENS” SUDDEN QUESTION. FOR MOMENT JOHN REALIZES THAT HE HAS CONTROL OVER HIS BODY. HE TRIES TO ASK SOME MORE QUESTIONS, BUT HIS VOICE CHANGES BACK TO DAEMEN, WHICH HAPPENS TO BE FEMALE. 

DAEMEN

BRIAN MEOW MEANT EVERYTHING TO ME. 

THE THERAPIST NODS, WRITING THE NOTES ON THE NOTEPAD. 

JOHN THE HORSE

(TRYING AGAIN) 

BRIAN MEEEOW?

DAEMEN PAUSES FOR A BIT.

DAEMEN

I-

JOHN THE HORSE CUTTING IN…

DAEMEN

I- THINK-

JOHN THE HORSE

WHO’S BRIAN MEOW?

  
  
  


DAEMEN INTERRUPTS. 

DAEMEN

BRIAN MEOW….

CONT. 

DAEMEN

IS ONE OF MY…

CONT. 

DAEMEN

….FAVORITE MUSICIANS…

CONT

DAEMEN

….WHO PLAYS GUITAR ON TURN IT BACK..

  
  


DAEMEN

ANYWAY….

  
  
  


JOHN THE HORSE

( LAUGHS)

DAEMEN BEGINS TO LAUGH. THE THERAPIST NOTICES THIS. SHE DOES NOT FLINCH. 

JOHN THE HORSE

YOUR THREE YEARS FROM TURNING FORTY…

THE THERAPIST CONTINUES TO TAKE NOTES. 

JOHN THE HORSE

( MOCKINGLY)

AND THIS IS HOW YOU SPEND YOUR TIME? 

JOHNS VOICE FADES FROM, DAEMENS BODY. ALMOST LIKE A RADIO…

JOHN THE HORSE

CHASING AFTER MEN THIRTY YEARS YOUR AGE… 

JOHN THE HORSE..

YOU AREN’T IN LOVE WITH THESE MEN, ARE YOU? 

JOHN THE HORSE

YOUR JUST RELIVING YOUR ADOLESCENCE, TRYING AND FINDING SOMETHING WORTHWHILE. 

THE THERAPIST CONTINUES TO WRITE HER NOTES DOWN/. 

JOHN THE HORSE

THAT’S LIFE ISN’T IT?

THE THERAPIST WRITES DOWN THAT PART. 

JOHN THE HORSE

YOU CHASE AND CHASE AFTER THESE FAMOUS MUSICIANS, AND YOUR ALMOST FORTY.

JOHN THE HORSE

WHAT THE HELL HAVE YOU BEEN DOING WITH YOUR LIFE?

THE THERAPIST IS STILL WRITING THIS DOWN. 

JOHN THE HORSE

I- I

  
  


JOHN THE HORSE IS PARTIALLY COVERED BY A SHADOW. 

JOHN THE HORSE

YOU’RE FORTY, AND STILL IN LOVE WITH THESE MEN? THESE MEN WHO WILL NEVER NOTICE YOU. 

CONT. 

JOHN THE HORSE

THIS IS WHY YOU HAD ME WRITE THAT SUICIDE NOTE? 

JOHN THE HORSE

ALL BECAUSE BRIAN MEOW FAILED TO NOTICE YOU?

THERAPIST

I TOLD YOU… IT’S OK TO ASK FOR ATTENTION..

JOHN THE HORSE ROLLS HIS EYES AT THIS. 

JOHN THE HORSE

I NEED TO ASK FOR ATTENTION…

  
  


JOHN THE HORSE

( ROLLING HIS EYES)

...FROM A CELEBRITY.

THE THERAPIST RESUMES TAKING NOTES. 

JOHN THE HORSE

THAT SOUNDS REASONABLE..

THE THERAPIST CONTINUES TO TAKE NOTES. 

THERAPIST

DAEMEN…

JOHN ATTEMPTS TO CORRECT HER, BUT FINDS HIMSELF CUT OFF. 

THERAPIST

YOU HAVE SPOKEN UP ABOUT WANTING TO NOTICED BY MEOW, HAVEN’T YOU? 

JOHN THE HORSE

YOU MEAN, EVERY SIXTEEN YEAR OLD GIRLS WET DREAM?

  
  
  


JOHN THE HORSE

THERE MUST BE MORE TO LIFE THEN TO IDOLIZING CELEBRITIES. 

THE THERAPIST LOOKS AT “DAEMEN”.

THE THERAPIST

THATS HIGHLY INSIGHTFUL OF YOU.

JOHN THE HORSE NODS. 

JOHN THE HORSE

WHAT ARE YOU DOING? HUH?

  
  


THE THERAPIST CONTINUES TO WRITE IN THE NOTEPAD. DAEMEN ATTEMPTS TO CUT IN. 

DAEMEN

I WRITE FANFICTION…

THE THERAPIST GESTURES TOWARDS DAEMEN WITH HER PEN. 

THE THERAPIST 

THATS GREAT. YOU WRITE FANFICTION…

  
  
  


JOHN THE HORSE INTERRUPTS.

JOHN THE HORSE

( SARCASTICALLY)

ISN’T THAT A TAD IMMATURE?

DAEMEN LOOKS AT JOHN THE HORSE. 

JOHN THE HORSE

WHY DO YOU WRITE FANFICTION…

ROGER THE HORSE CUTS IN, HE IS STANDING IN THE DOORWAY. HIS VOICE IS QUITE SHRILL. 

ROGER THE HORSE

( DISMISSIVELY)

BAH. FANFICTION. WHAT SHITE. 

HE STANDS IN THE DOORWAY. “DAEMEN,” LOOKS AT ROGER IN MOCK SHOCK. 

  
  
  
  


ROGER THE HORSE

YOU KNOW WHAT IS IMPORTANT? 

CONT. 

ROGER THE HORSE

HAVING YOUR FATHER SHOT DOWN BY an INCOMING ARMY. 

DAEMEN TRIES TO HUG HIM. ROGER PUSHES HIM AWAY. 

DAEMEN

IT’S OK…

ROGER THE HORSE LOOKS AT HIM. 

ROGER THE HORSE

FACK. OFF. DON’T. TOUCH. ME.

DAEMEN GIVES HIM A SWEET SMILE. ROGER THE HORSE PUSHES HER AWAY. 

` DAEMEN

IT’S OK… NOT ALL OF US ARE LIKE THAT…

ROGER THE HORSE GIVES HER A LOOK THAT SAYS, DID YOU JUST SAY WHAT I THINK YOU JUST SAID? . HE BRIEFLY RESTRAINS HIMSELF FROM PUNCHING HER IN THE PRIVATES. HE ALSO GIVES HER A VERY DEADLY LOOK. A LOUD SCREAM PLAYS THROUGH HIS MIND. 

  
  


The scene ends


	21. Chapter 21

**Summary for the Chapter:**

> We travel to hogwarts. written around thanksgiving.

INT. AlTERNATE UNIVERSE. DAY

ROGER THE HORSE GIVES HER A LOOK THAT SAYS, DID YOU JUST SAY WHAT I THINK YOU JUST SAID? HE BRIEFLY RESTRAINS HIMSELF FROM PUNCHING HER IN THE PRIVATES. HE ALSO GIVES HER A VERY DEADLY LOOK. A LOUD SCREAM PLAYS THROUGH HIS MIND. 

  
  


ROGER THE HORSE

( THINKING TO HIMSELF)

DID SHE JUST TELL ME TO IGNORE MY CHILDHOOD TRAUMA? DOES SHE NOT KNOW THAT MY FATHER WAS SHOT DOWN BY A GOLIATH BIRDEATER IN HIS UNIT? 

  
  


THE NEXT MORNING ROGER THE HORSE WAKES UP FROM HIS FOUR CORNER BED. IT’S BEEN A LONG DAY AFTER PLAYING A QUICK GAME OF QUIDDITCH, A GAME IN WHICH PEOPLE GET BEATEN UP FOR FUN. YOU KNOW, LIKE SOCCER. HE GRUNTS BECAUSE HE HAS A HARD TIME FALLING ASLEEP. IT FEELS AS IF THERE'S A WEIGHT ON HIS CHEST. 

THE NARRATOR

HE FROWNS. HE PUTS HIS FEET ON THE COLD FLOOR. IT HAD BEEN A YEAR SINCE THE GREAT BATTLE OF BLOODY BART HAD OCCURRED. HIS CHEST REMAINS SORE. WE PAN TO ROGER WAKING UP. HE WALKS PAST THE MIRROR. A QUICK FRAME OF A BRUNETTE WOMAN FOLLOWS HIS MOVEMENT. HE CONTINUES TO WALK TO THE GREAT HALL. HE FREEZES IN HIS TRACKS. ROGER BACKTRACKS TO THE HALLWAY MIRROR. HE STARES AT HIS REFLECTION. HE WIPES AWAY THE FOG. HE WIPES THE FOG WITH HIS HOOF. 

ROGER

……..

HE CONTINUES TO RUB THE FOGGY MIRROR. HE GIVES A MILD SCOWL AS THE FOGGY MIRROR BEGINS TO WIPE AWAY. IN THE PLACE OF A CLYDESDALE, THERE IS A DOE EYED BRUNETTE WITH LARGE BREASTS. THIS IS OF COURSE PLAYED BY A BARBIE. 

  
  
  
  
  


ROGER 

( BRIEFLY LOSES VOICE)

….. MERDE……

THE NARRATOR

ROGER FOUND TWO SQUARE THINGS UNDER HIS SHIRT… THAT DEFINITELY SHOULD NOT HAVE BEEN THERE….

ROGER

( IN DISBELIEF)

ça n'arrive pas.

( FRENCH FOR THIS ISN’T HAPPENING)

THE NARRATOR

OF COURSE, ROGER RAN DOWN THE HALLWAY, WONDERING IF THE OTHERS HAD BEEN A VICTIM OF FOUL PLAY. 

ROGER IS STILL STANDING AT THE MIRROR.

ROGER

( IN DISBELIEF)

  
  


Est-ce même réel? 

Combien ai-je bu la nuit dernière?

SUBTITLES READ IS THIS REAL? HOW MUCH DID I DRINK LAST NIGHT? 

THE NARRATOR GROWS IMPATIENT. 

THE NARRATOR

( IMPATIENTLY) 

ROGER RUNS DOWN THE HALLWAY. 

WITHOUT THINKING, ROGER BOLTS DOWN THE HALLWAY. AS SOON AS HE IS CERTAIN THAT THE NARRATOR IS NOT PAYING ATTENTION, HE ( SHE) BOLTS DOWN THE HALLWAY. AS SOON AS HE BEGINS TO CALM DOWN FROM THE FRIGHT, HE GINGERLY PINCHES HIS ( HER) LEFT BREAST. HE RUNS INTO A TEACHER WHO STOPS HIM IN HIS TRACKS.

TEACHER

ROGER. DID SOMETHING HAPPEN?

ROGER IS CONFUSED BY HOW UNDERSTANDING THIS TEACHER IS TO THE SITUATION. 

ROGER THE HORSE

( IN DISBELIEF)

MY SQUARE THINGS ARE HANGING OUT. 

THE TEACHER GIVES HIM ( HER) A VERY UNDERSTANDING NOD. ROGER, NOW FEMALE, GIVES HIM A BLANK LOOK. 

ROGER THE HORSE

MY SQUARE THINGS ARE HANGING OUT! WHY ARE MY SQUARE THINGS HANGING OUT?

MEANWHILE, WE SEE A TAPIR, a RED RACOON, AND A GIANT OTTER READING FROM A THESAURUS. ROGER THE HORSE RUSHES UP TO THEM. 

ROGER THE HORSE

( NEARLY IN PANIC MODE) 

MY SQUARE THINGS! 

A TAPIR LOOKS AT HIM IN CONFUSION. 

TAPIR

( CONFUSED)

SQUARE THINGS?

THE OTTER LOOKS OVER THE TAPIRS SHOULDER. THE TAPIR FROWNS AND BEGINS TO FLICK THE PAGES, LOOKING FOR A DEFINITION TO SQUARE THINGS. 

TAPIR

SQUARE THINGS. 

THE TAPIR FLICKS THROUGH THE PAGES. SHE MURMURS UNDER HER BREATH. SHE FROWNS, PLACING HER PAWS UNDER THE PAGE. ROGER_THE_ FEMALE, SNATCHES A BOOK FROM THE TAPIR. 

THE TAPIR

HEY!

ROGER THE FEMALE MAKES A GESTURE ABOUT HIS ( HER) CHEST. 

THE OTTER

OH!

THE OTTER BEGINS TO TAKE THE BOOK FROM ROGER_ THE_FEMALE.

THE OTTER

( READING)

THE CHICKEN BREAST IS PART OF A CHICKEN. THE BREAST IS MADE UP OF THREE COMPONENTS. THE CHICKEN FAT, THE CHICKEN AROLA, AND THE CHICKEN NIPPLE. 

ROGER_THE_FEMALE POINTS TO THE CENSOR BAR. THE OTTER READS FROM THE THESAURUS. 

  
  


THE OTTER 

( UNFAZED)

THE TACO PUSSY, OR A CAT MADE OF TACOS, IS COMPOSED OF SEVERAL ELEMENTS. THE TACO, AND THE PUSSY. PUSSY IS A SLANG FOR ( BLEEP), (BLEEP) (BLEEP). 

THE TAPIR GIVES HER AN ANNOYED LOOK. 

  
  


MEANWHILE AT THE GIRLS CHANGING ROOM. 

THE TAPIR

WE CAN’T SAY (BLEEPED) OUT WORD? 

THE GIANT OTTER GIVES HER A FRANK NOD. 

THE TAPIR

( CONFUSED)

BUT IF THIS STORY IS WRITTEN IN 2019. IN THE AGE OF ME TOO, SHOULDN’T WE BE CONCERNED ABOUT YOUNG GIRLS GETTING EDUCATED ABOUT FEMALE AUTONOMY?

THE OTTER

( ANNOYED) 

LOOK KATHRYN. THAT’S NOT HOW THINGS WORK. WE CAN’T TALK ABOUT THAT. NOW LET'S MOVE ONTO THE NEXT SCENE IN WHICH ROGER NEARLY GETS ROOFIED DURING A PARTY. 

  
  


THE NARRATOR

KATHRYN WALKS DOWN THE STAIRS, GRUMPILY. SHE BUMPS INTO DINA. DINA GIVES HER A SHY GLANCE. KATHRYN GLARES AT HER. 

DINA

HEY.

KATHRYN THE TAPIR GLARES AT HER IN ANNOYANCE. 

DINA

WE HAVEN’T TALKED AT ALL. YOU SEEM DISTANT, HANGING OUT WITH THOSE POPULAR GIRLS ALL THE TIME. 

A BEAT.

KATHRYN THE TAPIR

NOTHING IS WRONG.

DINA PAUSES A BIT. SHE STOPS SMILING, AS SHE REALIZES THAT KATHRYN IS GIVING HER A HOSTILE LOOK. 

KATHRYN THE TAPIR

WHY DON’T YOU LEAVE ME ALONE? ALL YOU DO IS CAUSE PROBLEMS FOR EVERYONE, MYSELF INCLUDED. 

DINA

( ON THE VERGE OF TEARS)

WHY WOULD YOU SAY THAT? 

ROGER THE FEMALE IS NEARBY. DINA RUNS OFF. BEFORE SHE REACHES THE END OF THE HALLWAY, SHE FLIPS OFF KATHRYN THE TAPIR. THE SCENE BECOMES DISTORTED AS KATHRYN STANDS NEARBY. KATHRYN IS IN SHOCK. SHE SHAKES HER HEAD. 

  
  
  


KATHRYN THE TAPIR

( SHAKING HER HEAD)

ADULTS DISCUSS PROBLEMS. ADULTS DON’T FLIP OFF OTHER ADULTS. TEENAGERS FLIP OFF ADULTS. 

ROGER THE FEMALE IS CONFUSED BY THIS STATEMENT. 

  
  
  


ROGER THE FEMALE

WHAT DO YOU MEAN BY THAT? 

THE TAPIR TURNS TO HIM ( HER). 

THE TAPIR

IT MEANS SHE’S STUCK. 

THE TAPIR WALKS WITH ROGER THE FEMALE. SHE KEEPS TALKING WITH HIM. 

THE TAPIR

DINA IS PERMANENTLY STUCK IN THE PAST. WE’RE IN THE FIC BECAUSE DINA IS STILL STUCK AT 13-YEAR OLD DINA WHEN SHE SHOULD BE AT 38-YEAR OLD DIANA. SHE CONSTANTLY BELITTLES OTHERS. SHE REFUSES TO TAKE RESPONSIBILITY, AND PINS OTHERS FOR ACTIONS THEY DID NOT COMMIT. HER REFUSAL TO ACCEPT RESPONSIBILITY SHOWS A LACK OF EMPATHY. PEOPLE WITH LARGE AMOUNTS OF EMPATHY DO NOT FLIP OTHERS OFF. 

ROGER THE HORSE

WHY IS THAT?

THE TAPIR GIVES A SIGH. THEY REACH THE BATHROOM. 

THE TAPIR

BECAUSE FLIPPING OTHERS OFF IS NOT ONLY NOT NICE, BUT IT MAKES THE SITUATION MUCH WORSE THAN IT IS. REMEMBER PEOPLE WITH LARGE AMOUNTS OF EMPATHY WILL ALSO REFRAIN FROM NAME CALLING. A PERSON WITH LARGE AMOUNTS OF EMPATHY WILL NOT CALL A GROUP OF PEOPLE ASSHOLES, BECAUSE USING THAT WORD IS NOT ONLY PROFANE, BUT IT INTENTIONALLY WILL HURT PEOPLE'S FEELINGS. CLAIMING TO HAVE A LARGE AMOUNT OF EMPATHY IS FRAUDULENT. 


	22. AUGUST

**Summary for the Chapter:**

> Louise holds back the door.

WE OPEN TO AN AUGUST MORNING. IT HAS BEEN A COUPLE DAYS AFTER SYD HAS to BE TECHNICALLY REBORN. SYD BRIEFLY STIRS IN HIS BED. HE WAKES WITH A START WITH A SLAM OF A DOOR. OFFSCREEN WE HEAR ROGER GILMOUR SWEAR ANGRILY. 

DAEMEN

WELL, YOU’RE HERE. 

ROGER THE HORSE

( SLURRING)

SHUT UP. 

DAEMEN

( CONCERNED)

HAVE YOU BEEN DRINKING?

ROGER THE HORSE EYES THE CAMERA.

ROGER   
  
( LYING)   
  
NO. 

DAEMEN GIVES HER A LOOK. 

ROGER   
  
NO. I’M NOT AN ANTI-UNICORN. 

  
  
  
  
  
  
  
  


THE NEXT WEEK. 

DAEMEN BEGINS TO SHOUT OUT FOR ROGER THE HORSE. 

DAEMEN

( FORMERLY JOHN_ THE _ HORSE)

HOLY- ROGER WHAT THE HELL DID YOU DO?

ROGER THE HORSE LOOKS AT THE SIGN. 

DAEMEN

  
ROGER DID YOU WRITE, YOU FILTHY UNICORNS ON THE PAVEMENT?

ROGER EYES THE CAMERA. 

ROGER THE HORSE 

YES.

  
  


ROGER THE HORSE IS TRYING TO GET INTO THE BASEMENT. 

MEOW OFFSCREEN

( NOW IT’S IMPORTANT TO REMEMBER TO LET THAT FEAR GO. DON’T LET THAT FEAR CONSUME YOU. YOU GOT TO LET THE FEAR GO, AND GO FOR IT. )

WE SEE LOUISE HOLDING THE DOOR CLOSED. ROGER THE HORSE IS TRYING TO KICK THE DOOR DOWN. LOUISE IS HOLDING THE DOOR BACK. SYD IS LYING ON THE FLOOR. WE HEAR ROGER JIGGLE THE DOOR, WHICH FAILS. ROGER GIVES A MILD CURSE, AS THE DOOR FAILS TO OPEN. LOUISE GLANCES AT SYD, WHO IS LYING ON THE FLOOR. 

ROGER SHOUTING

( LET ME IN)

LOUISE SLAMS THE DOOR BACK. SHE CONTINUES TO HOLD THE DOOR BACK. SHE GLANCES BACK AT SYD WHO IS NAPPING ON THE FLOOR. SHE LOSES FOCUS, BUT SLAMS BACK INTO THE DOOR. 

LOUISE 

( WHISPERING THROUGH TEETH)

SYD. 

ROGER TRIES TO OPEN THE DOOR. SHE SLAMS BACK INTO THE DOOR WITH A LOUD THUD. 

ROGER 

( JUST LET ME OPEN THE DOOR)

MEOW

( MUSING)   
  


WHAT ARE YOU AFRAID OF?

  
  


SYLVIA

( POINT OF BLANK)

FAILURE. 

MEOW

( SOFTLY MUSING)

WHAT ARE YOU AFRAID OF?

  
  


THE CAMERA PANS TO SYLVIA.

SYLVIA

( FEARFULLY)   
  


What'S THE POINT, MEOW?

MEOW

( REPEATING)

WHAT ARE YOU AFRAID OF?

SYLVIA

( I THOUGHT I TOLD YOU)

SYLVIA  
  
FAILURE. I'm AFRAID OF FAILURE MEOW. 

MEOW   
  


COME ON.

SYLVIA  
  
I CAN’T DO THIS. 

MEOW  
  
THERE IS ONLY ONE YOU. REMEMBER OUR AFFIRMATION.

  
SYLVIA  
  
‘THE ABILITY TO LET GO OF THINGS WE CAN”t CONTROL.”

the scene ends


	23. Rogers song

**Summary for the Chapter:**

> none. Roger sings his song.

FROM THE OPPRESSED TO THE OPPRESSOR;

BULLIED AND SPAT ON;

IGNORED FROM AGE TWO, 

FROM AGE NINE;

THROWN FROM A SNOWY HILL;

CALLED FAT;

CALLED QUEER;

SOMEHOW YOU’RE NOT EVEN HERE;

EXCLUDED FROM SOCIAL SPACE;

YEAH, YOUR A COOL ACE

YOUR HAND RISES;

IT RISES, MOTTLED, 

COVERED IN MAGGOTS,

IT RISES;

IT RISES;

IT RISES;

DRAGGING ME DOWN;

DRAGGING ME DOWN;

DRAGGING ME DOWN;

DRAGGING ME DOWN WITH YOU

BROKEN ANKLE, 

SMASHED MITT;

TORN LIGAMENT

COULDN’T MAKE DADDY PROUD

COULDN’T MAKE MOMMY PROUD

COULDN’T MAKE YOUR PEERS-

LIAR;

LONER;

LOSER;

ATTENTION SEEKING;

CAR SMASHING;

VALIDATION SEEKING;

ORANGE SKINNED;

PALE SKINNED;

BABY FINGERED-

TWEET SENDING;

DEFECTATING-

INTERNET ADDICTED-

WILL YOU MAKE DADDY HAPPY?

WILL YOU MAKE YOUR FATHER HAPPY-

DO YOU FEEL HAPPY?

WHEN YOUR HAND SHATTERED-

WHEN YOUR BRAIN SHATTERED-

WHEN YOUR OVARIES LEAKED-

WHEN YOU-

ARE YOU-

DO YOU-

DO YOU THINK

DO YOU THINK

DO YOU THINK

ARE YOU GUILTY:

ARE YOU PROUD:

ARE YOU BETTER:

CAN YOU CONTROL;

CAN YOU CONTROL:

CAN I CONTROL MY;

DO YOU REMEMBER;

THE CHILL IN YOUR SPINE;

THE CONSTANT REPLAYS;

OF HEARING THAT ORGASMIC;

DO YOU FEEL DISGUST;

AT FANTASY;

AT THINKING OF;

WILL YOUR FATHER-

WILL YOUR DAD;

WILL ANYONE CARE;

IF I SUCK;

IF I PLAY;

IF I RUN;

IF I LIVE;

IF I DIE;

WHAT IF;

THERE ARE COBWEBS;

DOWN THERE;

SORORITY CHANGER

REJECTED

LOST

LONE

WHAT IF I SEE;

THE SEAMS RIPPED;

IN YOUR EYES;

HEARING YOUR GOAT SCREAM;

SEEING YOUR CHIPPED TOOTH;

FEELING THOSE-

FEELING THOSE-

OH

OH

OH

I AM IN PAIN

I AM IN DISDAIN

OH

OH

OH

OH

OH

OH

OH

OH


	24. weird stuff happens

**Summary for the Chapter:**

> weird stuff happens. so does time travel.

RACOON POV

JESUS. I CAN’T STOP THINKING. I CAN’T STOP THINKING ABOUT HOW THE WORLD WON’T STOP IF I DISAPPEAR.  THESE AREN’T MY FEELINGS. THESE ARE WRONG FEELINGS. I SHOULDN’T SPEAK ABOUT IT. I SHOULDN’T THINK ABOUT THE FACT I’M FALLING INTO NOTHINGNESS. MY WILL TO GO ON IS DISAPPEARING.  IT’S GOING AWAY INTO THE HORIZON. I CANNOT REACH-IT.  IF I SPEAK THEN I AM SEEKING ATTENTION. IF I THINK THEN I AM SEEKING ATTENTION. I AM SEEKING ATTENTION. IT NEEDS TO STOP. IT NEEDS TO STOP.  I NEED CONTROL. I NEED CONTROL IN WHICH I FLICK THE SWITCH. THE SWITCH THAT WAS FLICKED. I NEED YOUR ATTENTION.  Meanwhile, AT BLOGBORTS WE SEE ROGER_NOW_FEMALE, AT THE NEARBY WING. SHE IS IN CLEAR PAIN.  MADAM FROOMY IS LOOKING AT THE CHECKLIST. SHE IS THE SCHOOL NURSE. 

MADAM PROPERTY 

HAVE YOU BEEN EXPERIENCING MOOD SWINGS? 

ROGER_NOW_FEMALE GIVES A BRIEF NOD BEFORE CLUTCHING HER STOMACH IN PAIN. 

MADAM PROPERTY

HAVE YOU BEEN EXPERIENCING MARKED ANGER?

ROGER THINKS FOR A MOMENT. 

WE CUT TO SYD IN THE DEFENSE AGAINST DARK MATTER. ROGER_NOW_FEMALE STOMPS RIGHT IN. SHE SLAMS HER NOTEBOOKS DOWN THE TABLE. SYD CONTINUES TO MAKE A MESS. 

SYD OFFSCREEN  ROGER IS AVOIDANT.  SUDDENLY DAMIEN SHOWS UP. ALL APPEARS NORMAL UNTIL SHE NOTICES THE TAPIR. SHE RUSHES TOWARDS THE TAPIR. THE TAPIR GLANCES UP AT HER. 

DAMIEN YOU KNOW, THE REASON I HAVE A PERSONALITY DISORDER IS BECAUSE I WAS BULLIED AT A YOUNG AGE. THE TAPIR LOOKS AT HER. 

DAMIEN

(ANGRY)

CAN YOU HEAR ME? 

WE SEE A YOUNG SYD LOOK OUTSIDE FORLORNLY. SUDDENLY, HE BEGINS TO SPACE OUT. WE SEE A FILM SET IN LUE OF REALITY. 

DAMIEN

I NEED YOU TO LISTEN TO ME.

SYD BEGINS TO PANIC. THE SCENE BEGINS TO BECOME VERY FUZZY. A CHAMELEON BEGINS TO COME INTO VIEW. SHE BEGINS TO WATCH SYD HAVE a PANIC ATTACK. THEN HIS FOCUS BECOMES VERY DISTORTED.  SOON THE SCENE BEGINS TO GLITCH WITH NUMBERS FLICKERING ON THE SIDE OF THE SCREEN. SYD’S VISION BECOMES VERY DISTORTED. THE SCREEN BECOMES VERY DIM. SYD CLUTCHES HER STOMACH AS SHE FALLS TO THE FLOOR. WE SEE DAEMEN AT HER TRUE FORM.  WHICH HAPPENS TO BE A PUDGY EIGHTH GRADER. 

DAEMEN

STOP ( PRONOUNCED STAHP) IT YOU GUYS.

IN REALITY, SHE BEGINS TO TRANSFORM. HER APPEARANCE IS THAT OF A BABY HEAD WITH A GIANT BODY OF A SPIDER.  THE CHAMELEON BEGINS TO glance at HER. THE CHAMELEON BEGINS TO MOVE TOWARDS THE EXIT. THE MONSTER STOPS HER. 

DAEMEN

WHERE DO YOU THINK you are GOING? 

THE CHAMELEON

GETTING OUT OF THIS PLACE. 

THE CHAMELEON BEGINS TO SCOTCH ALONG THE ROOM. THE GIANT SPIDER BABY BEGINS TO DROP DOWN, ON A SPIDERY WEB. THE GIANT SPIDER IS DROPPING DOWN ABOUT TO EAT THE CHAMELEON.  THE CHAMELEON BEGINS TO SCOTCH EVEN FASTER.  THE SCENE BEGINS TO FLASH VERY RAPIDLY. SYD BEGINS TO NOTICE THIS. WE FLASHBACK TO A CONCERT. SYD IS PERFORMING WHEN THE FLASHING LIGHTS BEGIN TO CAPTIVATE HIM.  WHAT YEAR IS IT?  1975? SYD MUST REMEMBER THE YEAR THAT EPISODE HAPPENED. THE FLASHING LIGHTS….  1978…  HE HAD BEEN KICKED OUT BY EARLY 1968. HE HAS TO REMEMBER. HE HAS TO REMEMBER. MEMORY IS A FICKLE THING. NO. IT HAS BEEN WHAT? A DAY? A WEEK? A MONTH? THE SCENE BEGINS TO GROW DARK, INDICATING THAT HE HAS BEGINNING TO EXPERIENCE TUNNEL VISION. THE SCENE GROWS BLACK, INDICATING THAT SYD IS ABOUT TO PASS OUT. 

LOCATION

WARREN MICHIGAN

The year is 1956

WE OPEN TO A SMALL HORSE BEANIE WAITING IN THE FRONT ROOM OF A HOSPITAL. OUTSIDE OF THE ROOM, WE HEAR THE DOCTORS TALK AMONGST THEMSELVES. THE BEANIE APPEARS TO NONE TOO PLEASED ABOUT BEING IN A HOSPITAL. ONE OF THE OTHER BEANIES, A DOG WITH SEVERAL PATCHES ON IT WALKS INTO THE ROOM. 

DOCTOR

( PERPLEXED)

MISS?

THE HORSE LOOKS UP. SHE HAS A SMALL PATCH ON HER FOREHEAD. THE DOCTOR LOOKS AT HIS NOTES. ON THE PAGE, THERE IS TEXT READING, FEMALE PATIENT HAS BEEN EXPERIENCING MOOD SWINGS daily. PATIENT HAS BEEN ALSO EXPERIENCING DELUSIONS. WANTS SEXUAL PLEASURE A LOT. NEEDS IT. IMPULSIVITY. 

THE DOCTOR

( TO SELF)

PERHAPS IT IS THAT TIME OF MONTH. 

HE CONTINUES TO LOOK AT NOTES. THE HORSE GIVES HIM AN APATHETIC LOOK. SHE LIES ON THE BED, UNCONCERNED ABOUT THE DOCTOR. THE NOTES READ, PATIENT EXPERIENCES OFTEN TIMES INAPPROPRIATE ANGER. USUALLY DIRECTED AT HER CHILDREN. THE HUSBAND APPEARS TO BE OUT OF THE PICTURE. THE MOTHER DOES NOT APPEAR TO TAKE CARE OF HER CHILDREN. RATHER THE CHILDREN SEEM TO TAKE CARE OF HER. PATIENT ALSO STRUGGLES WITH MANIC EPISODES. HER THOUGHTS ARE RATHER DISORGANIZED. THE DOCTOR LOOKS AT THE HORSE WITH A PATCH ON IT’S MUZZLE. THE HORSE DOES NOT SPEAK WHILE THE DOCTOR LOOKS OVER HIS NOTES. 

PATCHES 

( CATIONIC)

…………...

THE DOCTOR glanced at HER. 

DOCTOR

( IN A DIRECT MANNER)

MY COLLEAGUES AND I HAVE BEEN DISCUSSING POSSIBLE TREATMENTS FOR YOUR CONDITION. 

PATCHES LIES ON THE BED, IN A SEEMINGLY CATANOIC STATE. HER EYES ARE FIXATED ON THE CEILING. SHE CONTINUES TO STARE AT THE CEILING.  WE SEE SYLVIA WALK INTO THE ROOM. WE SEE A BUNCH OF BEANIES IN THE ROOM LOOKING AT SYLVIA. SHE LIES DOWN ON THE BED SURROUNDED BY DOCTORS. THE DOCTORS HOLD HER DOWN. ONE OF THE NURSES RUBS HER HEAD WITH A FLUID. ONE OF THE NURSES HANDS HER AN OBJECT THAT SEEMINGLY RESEMBLES A PAIR OF HEADPHONES, BUT IT’S COVERED WITH COTTON.  SYLVIA'S EYES DO NOT MOVE. HER EYES WIDEN VERY SLIGHTLY AT THE MACHINE. IT’S EITHER THIS OR A FRONTAL LOMBOMTY.  A LOMBOTY IS NOT AN OPTION. IT SIMPLY IS NOT AN OPTION. IT IS NOT AN OPTION. SHE LOOKS AT THE CEILING. 

SYLVIA

( INTERNALLY)

…………….

  
  
  


WE FLASHBACK TO SYLVIA IN FRONT OF ELLIS ISLAND. SHE HAS RECENTLY IMMIGRATED FROM EUROPE. BRITAIN TO BE MORE SPECIFIC. 

OFFICER

HOW MUCH?

SYLVIA 

(IN A SLIGHTLY COCKNEY ACCENT)

….. TWO TICKETS….

THE OFFICER

RIGHT. 

SYLVIA OPENS HER PURSE. SHE PUTS SOME CASH IN THE WINDOW. THE GUARD CHECKS HER OVER. SHE LOOKS AT HIM BLANKLY. 

The scene ends. 


	25. THE ANGER DEMON

**Summary for the Chapter:**

> we analyze characters intentions.

ROGER HAS ARRIVED FROM BLOGBORTS WIZARDING SCHOOL. THROUGH A SERIES OF TUNNELS, HE HAS WALKED BACK INTO THE DANGEROUS LAB. SHE NOW HE HAS TRANSFORMED BACK INTO HIS CLYDESDALE FORM. FOR NOW, HE IS NOW SAFE FROM DAEMEN. HE IS UNHAPPY WITH HAVING HIS MALE GENITALIA BEING FORCIBLY REMOVED. DAEMEN IS SITTING AT THE ENTRANCE OF THE CAVE. ROGER THE HORSE APPROACHES HER.

DAEMEN

HEY, ROGER. 

ROGER THE HORSE SITS DOWN. HE TURNS TO HER, THEN CONTINUES TO LOOK OFFSCREEN AT SOMETHING. 

ROGER THE HORSE

( SARCASTICALLY)

THANKS FOR REMOVING MY NADS DAEMEN. I LOVED LOOKING INTO A MIRROR, AND FEELING ESPECIALLY SH-

HE CUTS HIMSELF OFF, REALIZING HE IS ABOUT TO CURSE IN FRONT OF WHAT USED TO BE HIS FRIEND. 

ROGER THE HORSE

( CONT)

ITTY ABOUT MY BODY.

DAEMEN APPEARS QUITE DISAPPOINTED. ROGER MASSAGES HIS TEMPLES WITH HIS HOOVES. HE LIES HIS HEAD ON HIS FORELEG. 

BRIAN MEOW APPEARS BEHIND ROGER THE HORSE. HE SITS DOWN. 

BRIAN MEOW

GIVE THANKS. 

ROGER THE HORSE TURNS AROUND, ALMOST SCARING MEOW. 

ROGER THE HORSE

EXCUSE ME?

BRIAN MEOW DOES NOT RESPOND TO THIS. 

MEOW

BE THANKFUL THAT YOU HAD THIS WONDERFUL EXPERIENCE. It'S ALL PART OF THE *JOURNEY*.

ROGER GRUNTS IN DISGUST. 

  
  


WE FLASHBACK TO 2007.

DAEMEN ( NOW A SENIOR IN COLLEGE) IS SITTING OUTSIDE OF HER ALMA MATER. SHE OPENS THE PAGE TO THE OBITUARY, WHICH SYD’S PHOTO IS ON THE PAGE. 

THE TEXT READS 1946 TO 2007. SYD THE HORSE, A RETIRED MUSICIAN, HAS PASSED AWAY FROM COMPLICATIONS FROM DIABETES. THE CRAZY INSPIRATION FOR INFLATED PONIES HIT LUNATIC, WAS A FORMER MEMBER OF THE BAND. SADLY, HE BECAME A VICTIM TO THE SUMMER OF LOVE. AFTER A INTENSE PERIOD OF TAKING ACID, THE HORSE SUFFERED AN INTENSE BREAKDOWN AND BECAME A SHUT IN. SYD THE HORSES ONLY COMMUNICATION TO THE OUTSIDE WORLD WAS THROUGH HIS MOTHER AND SISTER WHO HAD TREATED HIM IN HIS AILING YEARS. ALL THOUGH NOT FORMALLY DIAGNOSED, IT IS NOW THOUGHT SYD HAD SUFFERED FROM SCHIZOPHRENIA. HE SUFFERED FROM INTENSE HALLUCINATIONS, WORD SALAD, CATATONIA.

FUNERAL IS FAMILY ONLY. THE BAND DID NOT COME. 

WE CUT TO AN FUNERAL. NOBODY WITH THE SOLE EXCEPTION OF SYDS FAMILY, SANS THE BAND IS SITTING AT A CASKET. THE HORSES BEGIN TO SADLY LOOK ON AS SYD LIES ON THE CASKET. 

WE SWITCH TO A DIFFERENT POV. WE PAN UP TO THE SKY, LOOKING AT THE BLUE SKY. THE CAMERA IS ON THE SKY UNTIL IT PULLS ITSELF BACK INTO SYDS CASKET. WE ARE NOW SEEING THINGS FROM HIS PERSPECTIVE. HE STANDS UP LOOKING AT HIS MOURNING FAMILY MEMBERS. HE MUSES TO HIMSELF, WHY DOES EVERYONE KEEP ACTING STRANGE? NO ONE CAN HEAR OR SEE HIM. EVERYONE ONLY SEES THE BODY LYING IN THE CASKET. YOUNG SYD THE HORSE WAKES UP FROM HIS BED WITH A START. WE PAN BACK TO REVEAL THAT IT WAS ALL JUST A NIGHTMARE. WE FOCUS BACK TO SYD. HE BEGINS TO PANT HEAVILY. WITHOUT NOTICING, HE BEGINS TO WEEP QUIETLY. SOMETHING IN THAT DREAM…

… IT FELT REAL. 

WE FLASH FORWARD A FEW YEARS before THE PRESENT. THE NEWS READS, ROGER THE HORSE NOW FACING CHARGES OF ANTI-SEMTISIM. WE SEE WOLF THUNDERBOLT, (PORTRAYED BY A PLUSH WOLF) TYPING … ROGER THE HORSE NOW FACING CHARGES OF ANTI-SEMTISIM. THE PLUSH WOLF PULLS OUT THE PIECE OF PAPER. 

WOLF THUNDERBOLT

ROGER THE HORSE, HOW DO YOU FEEL ABOUT THE ANTISEMITISM CHARGES?

ROGER THE HORSE

I AM NOT AN ANTISEMTIC!

WOLF THUNDERBOLT

HOW DO YOU RESPOND TO THESE ALLEGATIONS?

  
  
  


WE CUT BACK TO THE PRESENT. ROGER THE HORSE IS STILL LOOKING OFFSCREEN. SAM THE PENGUIN CALLS OFF SCREEN. ROGER LOOKS UP. 

THE CAMERA CUTS TO THE REST OF THE GROUP. SAM THE PENGUIN BEGINS TO WADDLE BACK AND FORTH, AS IF PACING BACK AND FORTH. 

SAM

( UNCOMFORTABLY TWITCHING)

WELL, I DEFEATED THE DEMON.

DAEMEN SHAKES HER HEAD. 

DAEMEN

( CROSS)

THE DEMON IS NOT DEFEATED 

SAM. 

SAM THE PENGUIN SHOOTS HER A CONFUSED GLANCE.

SAM THE AUTISTIC PENGUIN BEGINS TO TWITCH EVEN FURTHER. Ominous MUSIC BEGINS TO PLAY AS THE GROUP BEGINS TO LOOK AT EACH OTHER IN HORROR. THEY BEGIN TO TALK AMONGST THEMSELVES. 

THE CAMERA BEGINS TO SLOWLY PAN ON ROGER THE HORSE. THE CAMERA PAN BEGINS TO SLOW DOWN AS IF HE (AND TO AN EXTENT THE AUDIENCE) REALIZE IN HORROR WHO SAM HAS TO DESTROY for JOHN THE HORSE TO BECOME BETTER. DAEMEN SPEAKS, BREAKING THE TRANCE ROGER THE HORSE IS IN. 

DAEMEN 

SAM, GET ZIGGY AND SYLVIA. ZIGGY MAY KNOW WHAT TO DO. 

ROGER THE HORSE

SAM. STAY PUT. 

DAEMEN GIVES HIM AN AGGRAVATED GLANCE. ROGER BEGINS TO SHIVER. DAEMEN TAKES NOTICE OF ROGER SLIGHTLY SHIVERING. 

DAEMEN

( SLIGHTLY CONCERNED)

ROGER, ARE YOU ALRIGHT?

ROGER THE HORSE

( UNDER HIS BREATH SO NO ONE CAN HEAR HIM )

FINE.

SYLVIA RUNS DOWNSTAIRS. SYLVIA THE BEIGE HORSE WITH A SLIGHT PATCH ON HER FOREHEAD, AND ZIGGY THE VERY SLIGHTLY PINK ZEBRA RUN ONSCREEN. 

DAEMEN

( EXCITEDLY) 

ZIGGY!

ZIGGY THE ZEBRA GREETS HER WITH A BRIEF NOD. THE NOD IS BRIEFLY RETURNED. SHE TURNS TO FACE ROGER THE CYLDESTALE WHO HAS STOPPED SHAKING. HE IS SLIGHTLY CONVULSING ON THE STONE FLOOR. 

DAEMEN THE TARANTULA

( SLIGHTLY CONCERNED, SHE POINTS WITH ONE OF HER EIGHT LEGS). 

ZIGGY RUSHES TOWARDS ROGER THE HORSE. ROGER THE HORSE CONTINUES TO CONVULSE. NO ONE NOTICES THIS BUT A SLIGHT FANG BEGINS TO ENLARGE FROM HIS LIPS. HE ATTEMPTS TO PUSH IT BACK WITH HIS HAIR COVERED HOOF. THIS IS HARD TO DO AS THE HAIR BEGINS TO RECEDE. ROGER RETAINS SOMEWHAT OF HIS HORSE SHAPE. HE EMITS A GRUNT AS SOME OF HIS JOINTS BEGIN TO SNAP. HIS HOOF SOFTENS INTO A PAW LIKE SHAPE. HIS HAIR RECEDES INTO HARD BRISTLES. HIS EARS BEGIN TO FALL OFF. HE GRINS REVEALING A TOOTHLESS MOUTH. IN PLACE IS A SNAKE LIKE TONGUE. HIS EYES ARE VERY REPTILIAN. 

SAM THE PENGUIN LOOKS ON WITH HORROR. ROGER THE HORSE NOTICES SYLVIA, WHO BACKS AWAY IN HORROR. 

ROGER THE DEMON

SYLVIA….

SYLVIA BEGINS TO PANIC. SHE TRIES RUNNING UP IN THE STAIRS. ROGER SNATCHES HER INTO HIS ARMS. HIS FORM SHIFTS INTO HIS NORMAL SELF WITH THE EXCEPTION HE, OF COURSE, IS WEARING LATE 60S CLOTHING. 

ROGER THE DEMON

SLYVIA WHAT HAPPENED TO US?

SLYVIA, NOW AFRAID, EMITS A SHARP SQUEAL OF TERROR AND (AROUSAL). SHE MELTS INTO ROGERS ARMS. 

ROGER THE DEMON

( SQUEEZING SYLVIA)

TAKE ME. TAKE ME UPWARD THE FENCE SYLVIA. TAKE ME HIGHER SYLVIA. TAKE ME HIGHER. MMH.

ROGER IS NOW NAKED. HE MOANS AS SYLVIA SLIGHTLY GIGGLES IN HIS ARMS. 

DAEMEN ANGRILY INTERRUPTS THE CONVERSATION. 

DAEMEN

( ANNOYED)

SYLVIA, IS THIS- WAS THIS A * SHE COUGHS* 

THAT FANTASY-

THE GROUP GIGGLES AT THIS. DAEMEN CONTINUES SPEAKING. 

  * YOU HAD IN THE EIGHTH GRADE? 

SYLVIA THE HORSE

WELL, AT LEAST I WASN’T * CLIMBING THAT FENCE* WITH JOE MOUSELLO WHEN TETERATIC PARK CAME OUT. 

DAEMEN

THAT’S DIFFERENT!

SYLVIA THE HORSE

( WHILE FRENCH KISSING ROGER THE HORSE)

JOE WAS NINE. 

DAEMEN

( VERY ANGRY)

I WAS 12. 

ROGER THE HORSE LOOKS MILDLY EMBARRASSED AT THIS. 

ROGER THE HORSE

AT LEAST SYLVIA CLIMBED THE FENCE, WITH ME.

DAEMEN

DON’T YOU FUCKING DARE COMPARE ME TO A PEDOPHILE!

  
  


ROGER THE DEMON

EAT SHIT DAEMEN, WE ALL KNOW you're GOING TO DIE ALONE. 

HE GIVES A SOMEWHAT SEXY, ORGASMIC LAUGH. SYLVIA OUTRIGHT NEARLY CURLS UP IN HIS ARMS.

SYLVIA

TRUTH.

SHE CURLS TIGHTER IN HIS ARMS. IT APPEARS THAT THEY ARE ABOUT TO FORNICATE. 

SYD ( NOW A MAGICAL PONY) WALKS IN FROM STAGE LEFT. HE FREEZES, IN HORROR, WHEN HE SEES ROGER THE HORSE. ROGER THE HORSE NOTICES HIM, AND WAVES. NOT HAPPY WITH SEEING ROGER THE HORSE, HE BACKS UP INTO A WALL. HE IS VERY AFRAID OF ROGER. ANYTHING THAT REMINDS HIM OF ROGER AND HIS FORMER BAND MAKES HIM SLIGHTLY UPSET. 

ROGER THE HORSE

( FAKE CHEERINESS)

HI SYD!

SYD DOES NOT RETURN THE SMILE.

  
  


SYD THE HORSE

( VERY UNHAPPY, ON THE VERGE OF CRYING)

YOU. DROPPED. ME. OFF. AT. A. LOONEY. BIN. ROGER.

  
  
  


ROGER THE HORSE DROPS SYLVIA THE HORSE FROM HIS GRIP. 

ROGER THE HORSE

( ANNOYED)

I WAS TRYING TO HELP YOU!

SYD THE HORSE DOES NOT TAKE THIS AS AN ANSWER. 

SYD THE HORSE

( SNARKILY) 

FUNNY. 

SYD GIVES AN ANNOYED GRUNT, INDICATING HE IS ABOUT TO BECOME CATIONIC. HE INVOLUNTARY TWITCHES, THEN FREEZES UP. ROGER THE HORSE ALSO FREEZES. THEN ROGER THE HORSE SNAPS OUT OF IT. HE GROWLS, DROPPING HIS CHERRY FACADE. HE RUSHES TOWARDS SYD, ALMOST SNATCHING HIM, WHEN OUT OF NOWHERE HE RECEIVES A KICK TO THE TESTICLES. SYLVIA IS SEEN LOOKING DOWN AT ROGER. 

ROGER THE HORSE

(POINTS AT SYLVIA) 

REEEEEEEEE!

  * AUTHORS NOTE: JUST IMAGINE SEVERAL CATS BEING SLAUGHTERED. OR JUST WATCH THE END OF INVASION OF BODY SNATCHERS ( THE 1978 REMAKE). A GUY MAKES an EAR PIERCING SCREAM WHILST POINTING AT a WOMAN. ROGER IF YOU'RE READING THIS, PLEASE CHECK YOURSELF INTO ALCOHOLICS ANONYMOUS. YOU HAVE A DRINKING PROBLEM, YOU EMOTIONAL TRAINWRECK. ALSO PLEASE STOP STEALING YOUR EX-WIFE'S ROLEX. SHE NEEDS IT BACK, YOU TRAINWRECK OF A SWINE. 

SYD IS PARALYZED. 

SYD THE HORSE

……………….

ROGER THE HORSE SHIFTS FORMS. HE IS NOW WEARING A BLACK COAT WITH A RED T-SHIRT. HE SNATCHES SYLVIA. ROGER THE HORSE BEGINS TO LICK SYLVIA. 

  
  


SYLVIA

ROGER… NO…

SYD THE HORSE IS FROZEN AT ROGER THE HORSE. 

ROGER THE HORSE

HEY… NO…

SYLVIA RUNS AWAY FROM HIM. ROGER THE HORSE BEGINS TO CHASE SYLVIA, ALMOST CORNERING HER. 

  
  


THE CAMERA IS GLITCHING. ROGER IS VERY ANGRY NOW. 

ROGER THE HORSE

( OUT OF BREATH)

MY MOTHER WAS RIGHT ABOUT YOU…

SYLVIA IS OUT OF BREATHE. 

SYLVIA

YOUR MOTHER.

ROGER BEGINS TO CORNER SYLVIA, HIS FACE GLITCHES LIKE THE CAMERA. 

ROGER THE HORSE

( OUT OF BREATHE)

BITCH.

SYLVIA DOESN’T FLINCH. 

SYLVIA THE HORSE

(DEADPAN)

WE HAVE A MAMA’S BOY OVER HERE. 

ROGER CONTINUES TO SCREAM AT HER.

ROGER THE HORSE

SLUT!

ROGER THE HORSE

CUNT!

ROGER THE HORSE

WHORE!

ROGER THE HORSE

EAT SHIT! 

ROGER BEGINS TO LEVITATE ROCKS, THROWING THEM AT SYLVIA. 

ROGER THE HORSE

You're GOING TO DIE OF CANCER YOU DUMB SKANK!

ROGER THE HORSE CONTINUES TO THROW STUFF AT SYLVIA. CUE THINGS BEING THROWN, ROGER THE HORSE IS SCREAMING HIS LUNGS OUT. THE CAVERN IS SHAKING. ROGERS BODY BEGINS TO CONTORT AS IF HE IS ASSUMING DIFFERENT FORMS. HE BEGINS TO TOSS EVEN MORE ITEMS AT THE GROUP, WHO, WITH THE SOLE EXCEPTION OF SYD, WHO REMAINS CATANONIC. DAEMEN GRABS SYD AND LEADS HIM TO A SAFE AREA.

ROGER GRABS A PLATE, AND HE SMASHES IT. HE BEGINS TO DESTROY THE ROOM. 

ROGER THE HORSE

( ANGRY)

YOU, KNOW WHAT YOUR PROBLEM IS DAEMEN, YOU’RE TOO WEAK. 

  
  


DAEMEN

( SHOCKED)

SCREW YOU!

DAEMEN LIFTS HER LEG, INDICATING A MIDDLE FINGER, IN A DEMONIC LIKE GESTURE, ROGER CONTINUES TO SMASH UP THE ROOM. ROGER CONTINUES TO SMASH UP THE ROOM, IN A DEMONIC STATE. DAEMEN BEGINS TO COVER HER BODY PROTECTING SYD FROM ANY DEBRIS.

ZIGGY

SYLVIA, DO YOU HAVE a RECORD OF THE FENCE?

SYLVIA

SURE

ZIGGY

BEGINS TO READ THE PHYSICAL RECORD OF THE FENCE. 

ZIGGY THE ZEBRA

HMMM.

SHE BEGINS TO READ THE FENCE OVER AND OVER. 

ZIGGY

SYLVIA, DID YOU SERIOUSLY GET OFF TO THIS?

  
  
  
  
  
  
  
  
  
  
  
  
  
  


THE FENCE TRACKLIST

MY DAD GOT SHOT DOWN IN WW2.

MY OVER SMOTHERING MOTHER 

(NOW I HATE ALL WOMEN)

I START SCHOOL

HELP I'm BEING BULLIED

SCHOOL SUCKS

HELP, THE TEACHERS WON’T STOP BEATING ME.

THAT BULLYING WON’T IMPACT ME

MOTHER, MARTHA IS MAKING FUN OF ME. 

MOTHER MARTHA IS MAKING FUN OF MY SMALL DICK. 

MOTHER, MARTHA ISN’T GIVING IT TO ME IN BED. 

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  


SYLVIA

( IN A MATTER OF FACT TONE)

GUYS, I THINK WE MIGHT BE DEALING WITH A LUNATIC. 

ROGER THE HORSE

( SARCASTICALLY)

OH, YOUR NOT A LUNATIC?

HE GIVES A BITTER LAUGH. SYLVIA WALKS AWAY. HIS FACE BEGINS TO FALL, AND HE RUNS AFTER HER. 

ROGER THE HORSE

HEY. SYLVIA. 

HE GIVES OUT A LOW WHIMPER. 

ROGER THE HORSE 

WAIT!

ROGER THE HORSE CHASES SYLVIA SOME MORE. HE SLIPS ON THE CAVERN FLOOR. HE PULLS HIMSELF UP. SYLVIA HAS LEFT THE CAVERN. 

  
  


ROGER THE HORSE BEGINS TO PANIC. 

ROGER THE HORSE

( PANICKING)

WAIT! DON’T LEAVE ME NOW! 

THERE IS A BRIEF PAUSE. 

ROGER THE HORSE BEGINS TO FUME. HE THROWS A ROCK AT SYLVIA'S DIRECTION. HE PICKS UP ANOTHER ROCK, CLEARLY FRUSTRATED AT THE SITUATION. HE THROWS SEVERAL MORE ROCKS AT SYLVIA'S DIRECTION. HE BEGINS TO PICK UP A HEAVIER ROCK, THROWING IN SYLVIA DIRECTION. THERE IS A LOUD CRASH AS THE ROCK SHATTERS. 

  
  
  


ROGER THE HORSE

( TO HIMSELF)

WHO’S CRAZY NOW?

A QUIET PAUSE. 

ROGER THE HORSE SITS BACK DOWN. HE LOOKS AT THE OPENING OF THE CAVERN. WITHOUT LOOKING AT HIMSELF, HE BEGINS TO CHANGE. 

ROGER THE HORSE

WHERE ARE YOU? 

THE CAVERN GROWS EMPTY. ROGER THE HORSE IS SITTING BY HIMSELF BECAUSE EVERYONE HAS LEFT THE CAVERN FOR THEIR SAFETY. HE SHIVERS AS IT HAS BECOME QUITE COLD. THE CAVE BECOMES DARKER AND DARKER AS THE SCREEN GROWS DIM. HE MUST SELF DESTRUCT. BUT SELF DESTRUCTING IS A BAD IDEA. HE CURLS UP AS THE HUMMING GROWS LOUDER. THE CAMERA BECOMES DISTORTED. 

OUTSIDE THE CAVE

WE SEE SAM THE PENGUIN WITH THE TAPIR. THE TAPIR IS LOOKING AT SYD THE HORSE. SYD THE HORSE IS SLOWLY BECOMING UNCATONIC. 

ZIGGY

SYD, CAN YOU TWITCH YOUR TAIL. 

SYD DOES JUST THAT.

ZIGGY

TAKE IT EASY, SYD. 

SYD MAKES A BRIEF GRUNT. 

ZIGGY

TAKE YOUR TIME. 

SYD LOOKS AT HER.

  
  


SYD THE HORSE

PLEASE DON’T MAKE ME GO IN THERE. 

ZIGGY GLANCES AT HIM. HE MAKES AN AUDIBLE GRUNT, INDICATING THAT HE DOES NOT WANT TO GO BACK IN CLEARLY, HE IS TERRIFIED OF ROGER THE CLYDESDALE. 

ZIGGY

( NOW CONCERNED)

ARE YOU ALRIGHT?

SYD PAUSES FOR A BIT. 

SYD

FINE. THANK YOU FOR ASKING _ .  _

  
  
  
  


SYD THE HORSE LOOKS AT SAM THE PENGUIN. 

SAM THE PENGUIN 

HOW ARE WE GOING TO DEFEAT THE DEMON?

DAEMEN GLANCES AT THE CAVE. 

DAEMEN

IF YOU WANT JOHN THE HORSEBACK…

DAEMEN PAUSES. SHE PRODUCES A BASS FROM OUT OF NOWHERE. SYD THE HORSE DOES NOT WIDEN HIS EYES AT THE RECOGNITION OF HIS ELECTRIC BASS. DAEMEN IS UNIMPRESSED BY THE LACK OF EMOTION AT SYD. THE BASS MELTS INTO A CLOTH. SYD LOOKS AT THE CAVE AND LOOKS BACK AT DAEMEN. HE VERY SLOWLY SHAKES HIS MANE INDICATING THAT IS THE LAST PLACE HE WANTS TO BE IN. 

  
  


DAEMEN

SYD.

SYD DOES NOT WALK OVER TO HER. INSTEAD, DAEMEN WALKS OVER TO SYD. 

DAEMEN

CLOSE YOUR EYES. 

SYD IS ABOUT TO REFUSE, BUT HE DOES CLOSE THEM. DAEMEN PUTS ON THE BLINDFOLDS ON SYD. SILVA WALKS UP TO SYD WITH HER PURSE. INSIDE THE PURSE IS A MIRROR. SYD AT THIS POINT CANNOT SEE. MORE CHARACTERS WALK UP TO SYD. AS ONE OF THEM LEAVES, THE REST QUICKLY DISPERSE. SYD FINDS HIMSELF BLINDFOLDED. SAM THE PENGUIN BEGINS TO WADDLE TOWARDS SYD THE HORSE. SYD THE HORSE IS ODDLY VERY CALM AT THE PROSPECT OF HAVING TO FACE ROGER AGAIN. SYD THE HORSE SLOWLY TROTS TOWARDS THE CAVE. SAM THE AUTISTIC PENGUIN JUMPS ON SYD’S BODY. HE WILL BE DIRECTING SYD THROUGHOUT THE BATTLE. 

SYD

( BLUNTLY) 

NOT NOW. 

SAM APPEARS MILDLY CONFUSED AT THIS. HE MAKES SEVERAL CLICKING NOISES. SYD STOPS AT THE CAVES OPENING. 

SAM 

( STUTTERING) 

ARE YOU READY YET?

SYD THE HORSE SHAKES HIS HEAD. 

  
  


SYD

SAM STARES AT THE CAVES OPENING. 

SAM THE PENGUIN

WILL YOUR FAMILY MISS YOU IF YOU DIED?

SYD THE HORSES EARS BRIEFLY TWITCH. 

SYD THE HORSE

(TONELESSLY)

OF COURSE, THEY WILL. 

SAM THE PENGUIN BRIEFLY FLAPS HIS WINGS. THIS CAUSES SYD TO SHUDDER AS THE ACTION IS TICKLISH.

SAM THE PENGUIN

MINE won't. 

HE BECOMES INCREASINGLY NERVOUS AT THE CAVES. HE EMITS A NERVOUS LAUGH AS HE LOOKS AT THE IMPENDING DOOM. SYD REMAINS STILL.

SYD THE HORSE

……………..

SAM THE PENGUIN

ARE YOU AFRAID OF DYING?

SYD MAKES A GRUNT.

SYD THE HORSE

( FLATLY)

I WON’T BE HERE MUCH LONGER. 

THEY ENTER THE CAVE. AS SYD IS BLINDFOLDED, HE CAN ONLY SEE THE DARK. ROGER THE HORSE IS IN THE MIDDLE OF THE CAVE FLOOR. HE DOES NOT FACE THEM. ROGER THE HORSE TURNS TO THEM. 

ROGER THE HORSE

( TONELESSLY)

HELLO SYD.

SYD THE HORSE DOES NOT RESPOND TO ROGER THE HORSES GREETING. ROGER THE HORSE BEGINS TO LOOK DISTORTED. THE CAMERA DISTORTS ONCE MORE. SYD THE HORSE BEGINS TO FREEZE UP AGAIN. SAM THE AUTISTIC PENGUIN BEGINS TO KICK HIM IN THE STOMACH, AND MAKES SEVERAL CLICKING NOISES. SYD THE HORSE BACKS UP. SAM THE PENGUIN HOLDS ONTO THE REINS AND MAKES A SHARP WHISTLE. THIS GARNERS ROGER THE HORSES ATTENTION. HE BRIEFLY SQUINTS AT THE BLINDFOLDED HORSE. SYD THE HORSE CANNOT SEE ROGER THE HORSE AT THIS POINT. ROGER THE HORSE BECOMES VERY ANGRY AT SYD'S LACK OF REACTION. SAM THE AUTISTIC PENGUIN USHERS THE HORSE TO WALK TOWARDS ROGER THE HORSE.

ROGER THE HORSE

( VERY CONCERNED)

SYD… THIS IS WHY WE WORRY ABOUT YOU. YOU NEED TO SEE A DOCTOR ABOUT THIS BEHAVIOR OF YOURS... 

SYD KEEPS TROTTING TOWARDS ROGER THE HORSE. IN A NORMAL CIRCUMSTANCE, HE WOULD HAVE RAN AWAY FROM ROGER THE HORSE. INSTEAD, HE CONFIDENTLY TROTS TOWARDS ROGER THE HORSE. HIS TROTTING IS INTERRUPTED BY THE CAVE RUMBLING. THE SCENE CUTS TO BLACK…WE SEE THINGS FROM SYD THE HORSES POINT OF VIEW. WHICH IS NOT MUCH, TO SAY THE LEAST. OUTSIDE OF THE BLINDFOLDS, WE HEAR A MOTOR RUNNING, THEN TURN OFF. 

ROGER THE HORSE

( VOICE OVER)

THIS IS FOR YOUR GOOD SYD. 

A BEAT.

SYD THE HORSE

( FIRMLY)

I WANT TO GO HOME, ROGER.

A BEAT.

ROGER THE HORSE

( VOICE OVER)

YOU AREN’T WELL SYD. THE DOCTOR WILL TAKE VERY GOOD OF YOU. 

A BEAT. 

  
  


OUTSIDE OF THE CAVE.

SYLVIA AND DAEMEN ARE DISCUSSING MATTERS. 

SYLVIA THE HORSE

( WARY)

JOHN, SOMETHINGS NOT RIGHT. 

DAEMEN THE TARANTULA

( REASSURING)

THEY’RE FINE SYLVIA.

A SHARP SCREAM EMITS FROM THE CAVE. THIS CAUSES BOTH OF THE CHARACTERS TO TURN THEIR HEADS TO THE CAVE. SYLVIA APPEARS TO BE MILDLY UNHAPPY ABOUT GOING INTO THE CAVE. DAEMEN PUSHES HER INTO THE CAVE. SYLVIA WALKS INTO THE CAVE. ROGER RUSHES TO GRAB SYD THE HORSE WHEN HE NOTICES SYLVIA, WHO FOR A SPLIT SECOND, REMINDS HIM OF HIS OVERBEARING MOTHER. 

ROGER THE HORSE

(IN SHOCK)

MOTHER?

SYLVIA TROTS DOWN THE CAVERN. SHE MAKES EYE CONTACT WITH ROGER THE HORSE THE ENTIRE TIME. HIS MOVEMENT CHANGES FROM THAT OF BEING ANGRY TO BEING SUBMISSIVE. 

SYLVIA THE HORSE

( CONFUSED)

YES?

ROGER HIDES BEHIND SYLVIA. HE ENGULFS HER IN A TIGHT HUG. SYLVIA PRETENDS TO NOT NOTICE, BUT SHE FEELS WARM TEARS ON HER SHOULDER. 

ROGER THE HORSE

( SOBBING)   
  


YOU WERE ALWAYS RIGHT ABOUT LETTING OTHER WOMEN INTO MY LIFE. 

SYLVIA OF COURSE ROLLS WITH THIS. 

SYLVIA THE HORSE

( HELPLESSLY)

AH YES. PROSTITUTES. I PROMISE I WILL TAKE VERY GOOD CARE OF YOU, ROGER. WON’T LET ANY BAD WOMEN CORRUPT YOU. 

SAM THE PENGUIN

( TO SELF)

THAT’S WHAT MY MOTHER SAID TO ME AFTER DAD LEFT. 

SYLVIA WIDENS HER EYES AS ROGER ENGULFS HER IN A HUG. 

SYLVIA THE HORSE

( QUIETLY SOBBING)

I PROTECT YOU FROM THE OUTSIDE WORLD.

SYLVIA THE HORSE BEGINS TO SMOTHER HIM. SYD THE HORSE BEGINS TO PACE AROUND. ROGER THE HORSE LOOKS UP FROM HIS CRYING. HIS FACE BEGINS TO DISTORT AS HE SNAPS OUT OF IT. HE BECOMES INCREASINGLY ANGRY AT HIS MOTHER. SYLVIA BEGINS TO BACK AWAY FROM THE TWITCHING CLYDESDALE. THE CLYDESDALE LUNGES AT HIS “MOTHER.”

  
  


ROGER THE DEMON

(ANGRILY)

WHERES MY FATHER?

SYLVIA DODGES HIS BLOWS. HE LAYS INTO HER. 

ROGER THE DEMON

(FURIOUS)

WHY DIDN’T YOU PROTECT ME FROM MY FATHER'S DEATH?!? YOU TOOK MY DADDY AWAY FROM ME!!!!!!

SYLVIA BEGINS TO BACK AWAY EVEN MORE SO. SAM YANKS SYD THE HORSES REINS, INDICATING THAT THEY NEED TO LEAVE. SYD, SAM AND SYLVIA RUN OFFSCREEN. SAM PUSHES A BUTTON. THIS, OF COURSE, CAUSES THE ROOM ROGER IS IN TO AUTOMATICALLY SELF DESTRUCT. ALL THREE CHARACTERS RUN THROUGH THE LAB DOORS. THE LIGHTS BEGIN TO FLICKER AN OMINOUS RED. THE CAVE IS SHAKING SO VIOLENTLY THAT RUBBLE IS FALLING ON THEIR HEADS. SYD IS AT BREAKNECK SPEED, WHICH CAUSES SAM THE AUTISTIC PENGUIN TO HOLD ON FOR DEAR LIFE. ROGER THE DEMONS VOICE CUTS THROUGH THE SELF DESTRUCTION OF THE LAB. IT IS SO LOUD THAT SYD CAN HEAR IT THROUGHOUT THE RUBBLE. DESPITE THIS, AN EMERGENCY EXIT IS because of THE TRIO. WE HEAR CRASHING OF GLASS. ROGER THE HORSE HAS ESCAPED THE LAB. EVEN MORE, RUBBLE HAS FALLEN ON HIM. SYLVIA HAS PUSHED THE DOOR OPEN. ONLY ONE PROBLEM REMAINS. SYD THE HORSE IS NOT BIPEDAL. SAM IS UNABLE TO DISMOUNT SYD. ROGER BEGINS TO CHARGE AT THE THREE CHARACTERS. SAM THE PENGUIN LEANS INTO SYDS SADDLE. HE HOLDS THE REINS IN BOTH HANDS INDICATING TO SYD THAT HE NEEDS TO GET INTO THE SPARE ROOM. THE THREE CHARACTERS RUSH INTO THE SPAREROOM. ROGER THE HORSE SLAMS INTO THE GLASS DOOR. SYLVIA SLAMS IT SHUT WITH HER BODY. ROGER GROWLS AND TRIES TO OPEN THE DOOR WITH HIS BODY. 

  
  
  
  


SYLVIA

( HOLDING HER BODY AGAINST THE DOOR)

GO ON WITHOUT ME. 

SYD AND SAM IN UNISON

SYLVIA GLANCES AT THEM AS IF TO SAY, “YOU HAVE NO CHOICE.” SYD FREEZES AT THE WORST POSSIBLE MOMENT.

SAM 

(DEFINITELY)

LET HIM IN. 

SYLVIA 

(WHILE PRESSING HER BODY UP AGAINST THE DOOR)

ARE YOU CRAZY?

SYD THE HORSE

( ECHOING SAMS WORDS)

HE WON’T HURT US. 

SAM DISMOUNTS SYD THE HORSE. SYLVIA UNLOCKS THE DOOR. ROGER THE HORSE STEPS AWAY FROM THE DOOR. HE BARGES IN. HE SLOWS TO A STOP WHEN HE SEES SYD THE HORSE WITHOUT A RIDER. 

ROGER 

(IN DISBELIEF)

SYD? 

SYD TURNS AROUND. HE GALLOPS VERY QUICKLY UPSTAIRS. SAM, AT FIRST, UNSURE, BEGINS TO FOLLOW SUIT AFTER SYD THE HORSE. THE DUO FIND THEMSELVES IN A DIMLY LIT HALLWAY. WITHOUT THINKING, SYD THE HORSE PRESSES THE SAFETY LOCK FEATURE. THIS, OF COURSE, LOCKS THE DOOR BEHIND THEM. IN FRONT OF THEM IS THE FRONT HALLWAY WHICH IS UNBARRICADED. WE HEAR SEVERAL THUMPS.

ROGER THE DEMON

( DEMONICALLY)

SYD!

SYD PAYS NO HEED TO ROGERS CALLS. SEVERAL MORE THUMPS AND BANGS ARE HEARD. THERE IS A LOUD THUMP. SYD KEEPS GOING. HE IS UNFAZED BY THE VARIOUS BLINKING LIGHTS, AND ALARMS GOING ON. SAM PICKS UP A BRIEFCASE. ROGER THE DEMON, IS NOW VISIBLE ON THE CCTV FOOTAGE. THE CAMERA BEGINS TO SHAKE AND TREMBLE. 

WE FLASHBACK TO ROGER THE HORSES CHILDHOOD. 

ROGER THE HORSE IS SITTING DOWN IN A DESK. WE HEAR A SMACK OF A BELT. THERE IS ANOTHER SHOT OF ROGER THE HORSE GETTING BEATEN WITH A ROD. WE CUT TO ROGER THE HORSE IN A YARD. HE GETS KICKED BY HIS PEERS. Essentially WHAT HAPPENS IS HE’S GETTING PICKED ON. WE CUT TO ROGER THE HORSE GETTING BEATEN UP. HE WHIMPERS VERY SLIGHTLY. WE SEE HIM SITTING IN A DESK. WE SEE AN ECU OF ROGER QUIVERING ON THE PLAYGROUND. WE SEE AN ECU OF BEER BOTTLES ON THE GROUND. WE ZOOM UP TO SEE ROGER THE HORSE SITTING ALONE ON THE PLAYGROUND. WE SEE HIM BACK IN THE CLASSROOM. WE HEAR A SICKENING TWACK! WE SEE ROGER SITTING AT THE DESK AGAIN. WE SEE SEVERAL BARBIE DOLLS, PRESUMABLY THE HISTORY OF HIS EX GIRLFRIENDS/ WIVES.

SAM THE PENGUIN 

WHAT DO WE DO NOW?

SYD THE HORSE SAYS NOTHING AS ROGER CONTINUES TO BANG AGAINST THE WALL. HE JUST WATCHES UNFAZED AS THE HORSE NAMED ROGER BEGINS TO BANG AGAINST THE WALL. HE EMITS A GRUNT AS ROGER BANGS AGAINST THE WALLS. HE BEGINS TO GAIN ANOTHER LEG AS HE TRANSFORMS INTO ANOTHER FORM. 

  
  
  


ROGER THE HORSE 

( TRANSFORMING)

AHHH!

SYD THE HORSE BEGINS TO INTERNALLY MONOLOGUE. 

SYD THE HORSE 

( INTERNALLY)

WE DO NOTHING. THE ONLY WAY TO DEFEAT THE DEMON IS TO WATCH HIM BURN OUT. 

SAM THE PENGUIN 

( CALMLY)

HANG ON A MINUTE. 

HE BEGINS TO PRESS THE BUTTON, OPENING THE DOOR. SYD LOOKS AT HIM BLANKLY. 

SYD 

  
( TONELESSLY)

DAEMEN IS LOOKING OUT THE WINDOW. SAM THE PENGUIN MOVES CLOSER TO THE WINDOW. OFFSCREEN WE HEAR MEOWS VOICE. WE FADE IN TO SEE THAT SAM HAS STARTED HIS FIRST DAY OF HIGHSCHOOL. 

MEOW 

(ASSERTIVELY)

HOW ARE YOUR LISTENING SKILLS, SAM?

SAM DOES NOT ANSWER HIS QUESTION. HE LOOKS AT HIS FLIPPERS. WE CUT TO SEE ROGER THE HORSE STARING AT HIM. ROGER AND SAM HAVE BEEN ARGUING FOR SOMETIME NOW.

ROGER THE HORSE

( TIRED)

PLEASE, SAM. YOU NEED TO LISTEN TO ME. 

SAM THE PENGUIN

( ALSO TIRED)

I DON’T NEED TO HEAR ANYMORE OF IT. 

ROGERS VOICE BEGINS TO CRACK, ALMOST BLURRING THE PRESENT AND THE PAST.

ROGER THE HORSE

( SUDDENLY MORE ASSERTIVE)

Tell ME HOW TO NOT GO TO SUNSET CITY. 

SAM THE PENGUIN SLOWLY BECOMES SUSPICIOUS AT THIS STATEMENT. 

SAM THE PENGUIN

( CONFUSED)

WHY?

ROGER THE HORSE BEGINS TO SCRATCH HIS CHIN. HE IS ANNOYED AT HAVING TO LECTURE SAM ABOUT THIS. 

ROGER THE HORSE

( EXHAUSTED)

IT MEANS SUPPORTING THE BRUINI, WHO HAPPENS TO BE A TYRANNICAL DICTATOR. WHEN YOU PERFORM AT SUNSET CITY, ALL THAT MONEY GOES TO THE BRUINI, RATHER THEN THE PEOPLE. WHEN YOU GO THERE, IT SHOWS THAT YOU CARE MORE ABOUT GETTING PAID, THEN CARING FOR THE PEOPLE. 

SAM THE PENGUIN

(EXHAUSTED)

SO YOU’RE A NAZI?

ROGER THE HORSE

( SLIGHTLY SHOCKED)

I'm NOT AN NAZI. 

SAM RUBS HIS EYEBROWS. WE CUT TO HIM AND ZIGGY SPEAKING OUTSIDE OF THE HOUSEHOLD. 

ZIGGY THE ZEBRA

( CALMLY)

SAM, WHAT'S GOING ON?

SAM THE PENGUIN SIGHS. HE TURNS TO ZIGGY, LOOKING QUITE UPSET.

SAM THE PENGUIN

( ANNOYED)

IS MEOW a BAD PERSON FOR SUPPORTING THE APARTHEID?

ZIGGY THINKS FOR a MOMENT. SUDDENLY SHE TURNS TO SAM THE PENGUIN. 

ZIGGY THE ZEBRA

( SMILING)

SAM, WHO’S YOUR FAVORITE MUSICAL DIRECTOR?

  
  


SAM THE PENGUIN

( THINKING)

DOMONIC, LOYD WEBBER CREATOR OF THE SMASH PLAY HUMANS, THE GHOST OF COMMUNITY THEATRE, AND TAXES. 

A PAUSE.

SAM THE PENGUIN

( SLIGHTLY CONCERNED)

WHY? 

ZIGGY THE ZEBRA

( PERPLEXED)

WOULD IT BE FAIR TO ATTACK HIM FOR SOMETHING HE * MIGHT HAVE DONE?*

SAM LOOKS CONFUSED AT THIS. DAEMEN TAPS THE WINDOW. THIS BRINGS US BACK TO PRESENT DAY. SAM LOOKS AT THE WINDOW. DAEMEN OPENS IT UP SLIGHTLY. 

DAEMEN

( WHISPERING)

HERE. 

SHE THROWS SOMETHING AT SAM. SAM OPENS IT UP, REVEALING A SMALL POTION. 

DAEMEN

( WHISPERING)

HERE. IT’S AN ANTIDOTE. 

SAM LOOKS AT THE ITEM IN CONFUSION. HE NODS TO SYD TO OPEN THE DOOR. SYD SHAKES HIS HEAD INDICATING THAT IS A STUPID IDEA. 

  
  


YET THE DOOR MYSTERIOUSLY OPENS. SAM THE PENGUIN WANDERS INSIDE. SYD THE HORSE DOES NOT FOLLOW HIM. AT DAMEN'S URGING, HE SIGHS TO HIMSELF AND FOLLOWS SAM THE PENGUIN.SYD SAYS NOTHING WHILE SAM TRIES TO CORNER ROGER THE DEMON. ROGER THE DEMON GROWLS, AND SPITS. SAM THE PENGUIN HANDS THE DEMON THE BOTTLE. 

SAM THE PENGUIN

( CALMLY)

YOU MIGHT WANT TO DRINK THIS. 

THE DEMON SNATCHES THE BOTTLE FROM SAMS FLIPPER. THE DEMON TAKES a SWIG FROM THE BOTTLE. ALL APPEARS NORMAL. THEN HE EMITS A SCREECH AND CURLS UP INTO A BALL. THE DEMON SUDDERS, AND SCREECHES ONCE MORE. A BLUE GLOW EMITS FROM THE CAVE. LAYING ON THE CAVE FLOOR IS WHAT REMAINS OF ROGER THE DEMON. INSTEAD, A LARGELY ENDOWED BRUNETTE LIES ON THE CAVE. SYD THE HORSE DOES NOTHING. SAM, WATCHES AS ROGER THE FEMALE STIRS FROM THE TRANSFORMATION THAT OCCURRED. ROGER THE FEMALE EMITS A GROAN INDICATING THAT SHE IS BREATHING. DAEMEN OFFSCREEN BEGINS TO REPROACH THE WRITER AND CONSEQUENTLY, THE AUDIENCE. 

DAEMEN

  
(ANNOYED)   
  


OH, IT’S SHE NOW?

THANKFULLY, THE NARRATOR DECIDES TO KEEP GOING. DAEMEN GIVES AN ASIDE GLANCE. 

DAEMEN

( ATTEMPTING TO CORRECT THE NARRATOR)

*ROGER THE FEMALE EMITS A GROAN INDICATING THAT HE* IS BREATHING.

THE NARRATOR

( VERY ANNOYED) 

STOP THAT. I'm TELLING THE STORY. 

DAEMEN BEGINS TO ROLL HER SLEEVES. SHE BEGINS TO LEAN FORWARD. 

DAEMEN

( READY TO FIGHT)

WHY YOU….

THE CAMERA TURNS AWAY FROM ROGER THE FEMALE AS DAEMEN AND THE NARRATOR BEGIN TO FIGHT. WE HEAR SEVERAL SOUND EFFECTS INDICATING THAT FISTS ARE FLYING. MOST OF THE CREW AND CAST BEGIN TO SHOW UP ON SCREEN. THE SCREEN GOES BLUE WITH THE TEXT EXPERIENCING TECHNICAL DIFFICULTIES. 

THE SCREEN GOES BLACK. 

  
  


THE SCREEN BEGINS TO FADE IN. 

ROGER THE FEMALE BEGINS TO STIR. SHE BEGINS TO STRUGGLE GETTING UP. SAM THE PENGUIN HELPS HER UP. SHE OPENS HER EYES, SURVEYING THE CAVE. AUTOMATICALLY, SHE BEGINS TO BREATHE VERY LOUDLY. 

  
  


ROGER THE FEMALE

( HAVING A PANIC ATTACK)

WHAT THE HECK IS GOING ON?

SAM STARES AT HER IN BEWILDERMENT. SO DOES SYD. ROGER CONTINUES TO HAVE A SEVERE PANIC ATTACK. SHE BEGINS TO BREATHE VERY LOUDLY, AND HEAVILY. SHE PULLS ON SAM’S WING, CAUSING SAM TO YELP IN PAIN. SHE DOES NOT FOCUS ON THE EMERGENCY EXIT AT HAND. ROGER THE FEMALE CONTINUES TO PANIC. THE TWO BEGIN TO EXIT THROUGH THE EMERGENCY LANDING. THE TWO BEGIN TO EXCHANGE GLANCES AMONGST EACH OTHER. EXT. SHOT OUTSIDE OF THE CAVE. SAM AND SYD ARE SITTING OUT OF THE CAVE. ROGER THE FEMALE IS APPEARING TO HAVE A SEVERE PANIC ATTACK. SYD AND SAM ARE BOTH UNHAPPY WITH THIS NEW REVELATION. EXCEPT FOR SYD. HE APPEARS MOSTLY UNHAPPY. THIS MIGHT BE A FLAT AFFECT. SAM ANGRILY WALKS UP TO DAEMEN. 

SAM THE PENGUIN 

( TRYING TO HOLD BREATH IN, BUT FAILS TO DO SO)

WHAT HAPPENED?

DAEMEN TRIES TO EXPLAIN HERSELF. 

DAEMEN

( EXPRESSLY)

  1. ROGER IS APPEARING TO HAVE A PANIC ATTACK. YOU SHOULD COMFORT HIM. 

SAM THE PENGUIN. 

HER.

DAEMEN

HIM. SAM. THE PROPER PRONOUNS ARE HIM.

SAM BECOMES VERY CONFUSED AT THIS. 

  
  


The scene ends


	26. intermission

**Summary for the Chapter:**

> Sam learns something about Roger.

THE GANG finds THEMSELVES AT A HAUNTED PIZZERIA. 

ROGER THE HORSE IS ADMIRING HIS BUTTON. THE GANG IS LOOKING AT THE MONITORS. WE DO NOT SEE THE PINK OR BLUE HORSE FOR THEY ARE AT THE FINAL FANTASY DIMENSION. 

ROGER THE HORSE 

( GROANING)

WELL, THIS SUCKS. 

THE GRAY TABBY CAT.

(ANNOYED)

WHAT DID I TELL YOU?

ROGER THE HORSE BEGINS TO GLARE BRIEFLY AT THE GRAY TABBY CAT. THE GRAY CAT CONTINUES TO LOOK AT THE MONITORS. WE PAN BACK TO REVEAL THAT ROGER THE HORSE IS WEARING A BLUE AND PURPLE VEST WITH THE LETTERS SECURITY WRITTEN AT THE TOP. 

THE GRAY CAT 

( VERY ANNOYED)

YOU GET A FIFTEEN MINUTE BREAK BEFORE SUNSET. TRY NOT TO GET KILLED IN THE SEVEN DAYS. 

ROGER THE HORSE

( NODDING HEAD)

OKIE-DOKIE. 

ROGER AND THE GRAY BEGIN TO DISCUSS THE RULES OF THE RESTAURANT. SAM THE PENGUIN IS WAITING for OUTSIDE OF THE RESTAURANT. 

  
  
  


SECOND NIGHT

SAM THE PENGUIN BEGINS TO NOTICE ROGER THE HORSE BENT OVER IN PAIN. 

SAM THE PENGUIN

( CONCERNED)

ROGER, ARE YOU ALRIGHT?

ROGER THE HORSE KEEPS HIS BODY BENT OVER. HE CLUTCHES THE TRASH CAN, JUST BARELY AVOIDING 

SAM THE PENGUIN

( HIGHLY CONCERNED)

ROGER, DO YOU NEED A BUCKET.

ROGER THE HORSE LEAVES THE ROOM. SAM LOOKS AFTER HIM. HE BECOMES VERY ALARMED. 

SAM THE PENGUIN

( ANNOYED)   
  


ROGER, WE CAN’T LEAVE THE ROOM. 

HE FOLLOWS AFTER ROGER THE HORSE. WE SEE ROGER BEGIN TO BRIEFLY STUMBLE. SAM BEGINS BECOME INCREASINGLY CONCERNED AS ROGER DOESN’T USUALLY STUMBLE. 

ROGER THE HORSE

( IN GREAT AMOUNT OF PAIN)

SHIT. 

ROGER IS ABOUT TO TRANSFORM INTO ROGER THE FEMALE. 

ROGER - THE HORSE

( ANNOYED)

HELP ME UP SYD.

SAM THE PENGUIN BEGINS TO FEEL CONFUSED AT THIS. ROGER THE HORSE BEGINS TO ALMOST WAIL IN PAIN. SAM THE PENGUIN INSTINCTIVELY PUTS HIS FLIPPER OVER ROGER THE HORSE'S MOUTH. 

SAM THE PENGUIN

( AGGRESSIVELY)

YOU’RE ABOUT TO GET US KILLED!

ROGER THE HORSE

( QUIETLY WAILING)

MMMPH!

Outside THE BATHROOM, WE HEAR A WHIRR AND SEVERAL CLICKING NOISES. BOTH OF THE CHARACTERS LOOK ON IN HORROR. ROGER SNATCHES SAM INTO THE BATHROOM, AND HE QUIETLY MUFFLED HIS SCREAMS OF PAIN. ROGER BEGINS TO PROSPERITY. THE CLICKING STOPS. WHIRRING IS BEGINNING TO STOP. THE CHARACTERS BEGIN TO QUIETLY SIT IN THE STALLS. 

ROGER THE HORSE HOLDS HIS BREATH. HE SITS IN THE STALL. 

ROGER THE HORSE

( SUCKS IN HIS BREATH)

  
  
  
  
  


THE SECOND NIGHT

ROGER THE HORSE

(ORDERING)

RIGHT, SO WE PRESS THE BUTTON. 

SAM THE PENGUIN LOOKS ON NERVOUSLY. 

ROGER THE HORSE BRIEFLY SWATS SAM THE PENGUINS HEAD. SAM THE PENGUIN MUTTERS UNDER HIS BREATH. SAM THE PENGUIN NERVOUSLY TWITCHES. HIS HEAD JERKS UP AT THE MONITOR. A MONSTER, POPS UP, SCARING THE CRAP OUT OF THEM. 

THE TWO PASS OUT. 

ROGER OFFSCREEN

( VERY ANGRY)

DAMMIT!

SCREEN RELOADS. THE TWO HAVE TO RESTART AT DAY ONE. ROGER BEGINS TO CROSS HIS ARMS VERY ANGRILY.

ROGER THE HORSE

WELL, THIS SUCKS. 

BRIAN MEOW IS WATCHING NEARBY. HE MOVES CLOSER, APPEARING SEVERELY DISAPPOINTED IN ROGERS CHOICES OF WORDS. 

MEOW 

( DISAPPOINTEDLY)

I WISH YOU WOULDN’T SAY THAT.

ROGER TURNS AROUND, MEOW IS LOOKING QUITE DISAPPOINTED AT HIS NEGATIVE BEHAVIOR. 

MEOW

( SADLY)

WOULDN’T IT BE GREAT IF YOU JUST NEVER USED SARCASM? BE HAPPY LIKE I AM. I AM GRATEFUL AND COUNT MY BLESSINGS. WHY AREN’T YOU HAPPY ROGER?

ROGER SAYS NOTHING AT THIS. 

MEOW

( BLISSFULLY)

PLEASE CUT DOWN ON YOUR SARCASM. KIND PEOPLE DON’T USE SARCASM. HAPPY PEOPLE DON’T USE SARCASM. 

ROGER THE HORSE

( VOICE SLIGHTLY STRAINED, CONTAINING ANGER)

I'm TRYING MY DAMN-

MEOW CUTS HIS SWEARING OFF. 

MEOW

( CALMLY)

WATCH YOUR LANGUAGE, ROGER. HAPPY PEOPLE DON’T NEED TO SWEAR.

ROGER STARES AT HIM IN HORROR. HIS BODY CONTORTS INTOan ANGRY TWITCH BEFORE HE RESTRAINS HIMSELF FROM PERSONALLY LAYING IT ON MEOW. HE INHALES SHARPLY. A QUIET GLOW EMITS FROM HIS BODY. HE SHUDDERS BEFORE MOANING SLIGHTLY. 

MEOW SMILES. 

  
  
  
  
  
  


LATER.

ROGER IS WAITING. HE IS LOOKING RATHER POSITIVE FOR HIS USUALLY POD SELF. SAM APPROACHES HIM AT THE DESK. HE GIVES A HUMBLE SMILE. 

ROGER THE HORSE

( BLISSFULLY)

HAVE YOU FOUND ANY MONSTERS YET, SAMUEL?

SAM THE PENGUIN

( STIFFENS, AS NO ONE, CALLS HIM SAMUEL)

NO…

ROGER SMILES AT SAM. HE TURNS TO THE DESK. ON ONE OF THE MONITORS, IS ONE OF THE CREATURES. 

ROGER THE HORSE

( SWEETLY)

WE SHOULD BE NICE TO THESE ROBOTS. EVERY CREATURE, MANMADE OR NOT NEEDS TO LIVE. WE ARE ONE. 

SAM TURNS TO HIM, LOOKING VERY ALARMED AT THE PROSPECT OF ROGER ACTING VERY NICE. MEANWHILE, ROGER BEGINS TO SPEAK VERY SWEETLY. 

ROGER THE HORSE

( SWEETLY)

BE THANKFUL, SAMUEL. EVERYTHING HAPPENS FOR A REASON. WHY WHEN I WAS A VERY SMALL CHILD, I USED TO GET CANED REGULARLY. NOW I UNDERSTAND WE’RE ALL ON A PATH, AND ALWAYS GROWING. IT’S ALL PART OF THAT JOURNEY WE’RE ALL ON. 

  
  


SAM THE PENGUIN IS SILENT. 

SAM THE PENGUIN

( QUICKLY THINKING)

WHAT DO YOU THINK ABOUT SUNSET CITY? 

ROGER THE HORSE BEGINS TO TURN TO HIM. HE OFFERS A SAD, GLANCE AT SAM.SAM CONTINUES TO LOOK AT THE MONITORS. 

ROGER THE HORSE

( SOFTLY)

I BELIEVE IN EQUALITY, SAMUEL. PLAYING IN SUNSET CITY IS GOOD FOR THE PEOPLE. IF WE DON’T PLAY IN SUNSET CITY, THEN WHAT GOODWILL THAT does FOR THE PEOPLE? 

SAM THE PENGUIN

( CONCERNED)

WHO ARE YOU, AND WHAT HAVE YOU DONE WITH ROGER THE HORSE?

ROGER THE HORSE TURNS TO HIM. HE OFFERS A SAD SWEET SMILE. ROGER THE HORSE PUTS HIS HOOF AROUND SAM THE PENGUIN. SAM THE PENGUIN CONTINUES TO LOOK AT THE MONITORS. A MONSTER IS ABOUT TO POP OUT OF THE DOORS. SAM SMASHES THE BUTTON. THE DOOR CLOSES. THIS CAUSES ROGER THE HORSE TO BECOME HIGHLY UPSET WITH SAM THE PENGUIN. HE relaxes HIS FACE INTO A SOMEWHAT PEACEFUL SMILE.  ROGER THE HORSE BEGINS TO PAT SAM THE PENGUIN.

the scene ends


	27. intro to the climax

THREE PONIES GO TO FINAL FANTASY UNIVERSE.

  
  


THERE ARE TWO PONIES ON CAMERA. 

PINK PONY

( CONFUSED)

WHERE ARE WE? 

THE BLUE PONY GLANCES AT HER ANNOYED. THE CAMERA PANS TO A FANTASY WORLD WITH THE TITLE OF FINAL FANTASY. THE TWO PONIES GROAN IN ANNOYANCE AS THE GAME TITLES APPEAR IN THE SKY. 

PINK PONY

( ANNOYED)

BLOODY HELL, THAT EXPLAINS A LOT. 

DAEMEN WOULD HAVE MURDERED HER FOR SWEARING. THEN AGAIN, GENDER ISN’T BINARY. PINK PONY WALKS OFF THE HILLS. BLUE PONY WANDERS OFF WITH HER. PINK PONY LOOKS OFF INTO THE DISTANCE. SHE GLANCES OFF INTO THE CAMERA. SHE NOTICES THAT THERE IS A UNICORN IN THE HORIZON.

PINK PONY

( QUIETLY)

UNICORN. 

THE UNICORN DOES NOT PAY HEED TO THE PINK PONY. THE PINK PONY WALKS CLOSER TO THE UNICORN. 

THE PINK PONY

( FRIENDLY)

HELLO, I AM PINK PONY

THE SCREEN SHAKES INDICATING A BOSS BATTLE IS ENSUING. 

24 TRIES LATER.

PINK PONY IS TIRED. HE COLLAPSES ON THE GROUND.

UNICORN

( PANTING)

Sparkly TWINKLE TOES? 

SPARKLY TWINKLE TOE

( GRUNTING)

HERE.

THE UNICORN HELPS HIM UP. 

PINK UNICORN

( SLIGHTLY EXHAUSTED)

HERE, 

SPARKLY TWINKLE TOE GLANCES AT HIM. SUDDENLY, SHE LEAPS TO HER FEET. 

SPARKLY TWINKLE TOE

( ENTHUSIASTICALLY)

STEVE!   
  


STEVE THE PINK UNICORN BEGINS TO GRIN. SPARKLY TWINKLE TOE ADMIRES STEVE THE PINK UNICORN.

  
  


THE BLUE PONY GLANCES AT STEVE THE PINK UNICORN. HE WALKS UP TO STEVE THE PINK UNICORN. STEVE THE UNICORN GRINS AT THEM.

  
  
  


We need tech support 

PINK PONY

( SMILING)

WE NEED SOME TECH SUPPORT STEVE. 

STEVE THE UNICORN GIVES AN UNDERSTANDING NOD. HE LOOKS AT THE TWO OF THEM. 

STEVE THE UNICORN

( UNDERSTANDING)

IS ROGER THE HORSE GIVING YOU PROBLEMS AGAIN?

WE CUT TO THE BLUE PONY BEING FILMED ALA THE OFFICE. 

THE BLUE PONY

( ANNOYED)

ROGER THE HORSE ISN’T THE ONE GIVING ME PROBLEMS. 

WE CUT TO ROGER AND SPARKLY TWINKLE TOES HAVING WHAT SEEMS TO BE AN UNPLEASANT CONVERSATION. WE CUT TO THE BLUE PONY WHILST PUNCHING SOUNDS ARE BEING HEARD OFFSCREEN. CLEARLY, THERE MUST BE SOMETHING ERRONEOUS going ON WITH THE TWO OF THEM. 

THE BLUE PONY

( ANNOYED)

OR AT LEAST IT’S NOT MY PROBLEM. 

THE BLUE PONY WATCHES AS THE TWO HORSES CONTINUE TO ARGUE. THE BLUE PONY GIVES a SLIGHT SMILE AS THE CAMERA CONTINUES TO ROLL.    
  


  
  


We summon bill on accident

MEANWHILE, BACK IN THE FANTASY DIMENSION, THREE OF THE MUSICIANS BEGIN TO FIGURE OUT HOW TO MAKE DO WITH THE SITUATION. 

THE PINK PONY

( ANNOYED) 

WHAT ARE WE DOING HERE?

THE BLUE PONY TRIES TO LOOK OVER THE HILLS. HE TROTS OVER TO THE TREE. 

THE TREE

HEY. PSST. 

THE BLUE PONY GESTURES TO THIS. THE TWO PONIES WANDER OVER TO THE TREE. 

THE TREE

COME OVER HERE. 

ALL THREE OF THE PONIES GLANCE AT THE TREE. SUDDENLY, THERE ARE GLOWING ARMS EMITTING FROM THE TREE. 

THE TREE

LISTEN TO ME.

ALL THREE OF THE PONIES ARE WATCHING THE TREE INTENTLY. 

THE TREE POINTS AT the FAR LEFT CORNER. 

THE TREE

YOU WANT OUT. 

THE TREE POINTS AT THE SECOND PONY. CU ON THE SECOND PONY. 

THE TREE

YOU WANT OUT. 

THE TREE POINTS AT THE THIRD PONY. 

THE TREE

YOU WANT-

SYD FALLS FROM THE SKY INTERRUPTING HIM. 

THE TREE 

( CONT)   
  


YOU WANT THINGS TO BE NORMAL. 

SYD THE PONY HAS SQUISHED SOME GRASS. 

SYD THE PONY

OW.

HE CONTINUES TO LIE ON THE GRASS. 

THE TREE

( POINTING AT THE PINK PONY)

WHAT DO YOU WANT? 

  
THE PINK PONY BEGINS TO THINK TO HIMSELF. HE BEGINS TO GLANCE AROUND THE SCREEN. WE SEE A MONTAGE OF ROGER YELLING AT HIM. T HAS BEEN TWO WEEKS. WE SEE THAT SYLVIA HAS BEEN TARDY FROM HER CLASSES. NO ONE SEEMS TO CARE IF SHE’S LATE SO THEY CARRY ON. WE SEE THAT ROGER ( NOW HUMAN) HAS BEEN WALKING BAREFOOT FOR TWO WEEKS. WE SEE THAT EVERYONE IN THE GROUP IS MALNOURISHED, OR TIRED, OR SCARED. EVERYONE WEARS A GRIM EXPRESSION ON THEIR FACE. JOHN LIES ON THE GROUND GROANING IN PAIN. THE GROUP LOOKS AT THE SETTING SUN WITH HORROR. FOR THE PAST FEW DAYS, JOHN HAS BEEN TURNING INTO VARIOUS CREATURES. NO ONE LOOKS AWAY AS JOHN BEGINS TO STRUGGLE IN PAIN. SYLVIA CANNOT HELP. ROGER IS TOO TIRED TO HELP. THE TWO PONY BROTHERS CANNOT HELP BUT WATCH AS THE HORRIFYING TRANSFORMATION NO ONE RUNS THIS TIME. IN THE MIX BETWEEN THE MISSISSIPPI RIVER AND THE ILLINOIS BOUNDARY, NO ONE MOVE A MUSCLE AS JOHNS BODY CONTORTS.

The scene ends


	28. prom

**Summary for the Chapter:**

> we enter the void. Therotically, this is one of DAEMENS traumas.

THREE PONIES ( ALL FIFTEEN) SIT AT THE ROOM. ROGER LOOKS HIGHLY UNCOMFORTABLE. ELSEWHERE, DAEMEN, IS GEEKING OUT LIKE A CHEERLEADER AT HOMECOMING. SHE TRIES TO GARNER BRAIN MEOWS ATTENTION. HOWEVER, BRIAN MEOW DOES NOT NOTICE HER. SHE KEEPS GUSHING OVER HIM

DAEMEN

( GUSHING OVER MEOW)   
  


HE’S SO PERFECT. 

MEOW WANDERS OVER, FINDING HIMSELF SURROUNDED BY MANY UNDERCLASSMEN. DAEMEN AND SYLVIA TRY TO FIGHT AMONGST THEM. BOTH OF THEM TRY TO FIGHT AMONGST them. SYLVIA WALKS OUT OF THE GROUP. 

DAEMEN

( CONTINUES TO GUSH OVER MEOW)   
  


HEEEY MEOW. 

MEOW IGNORES HER. SHE KEEPS GOING, HOWEVER. 

DAEMEN

( GUSHING)   
  


YOU KNOW, I’M AN ARTIST. 

MEOW IGNORES HER. 

DAEMEN

( CONTINUALLY GUSHING)   
  


AND I THINK YOUR PRETTY CUTE. 

MEOW IGNORES HER. A GROUP OF GIRLS SWARM OVER HER. HE ALLOWS THE SWARM OF GIRLS TO OVERWHELM HIM. MEOW DOES NOT MIND THIS.  


SYLVIA GLANCES AT HER. SHE ANGRILY WALKS OVER TO DAEMEN.

SYLVIA 

( ANGRILY)   
  


ARE YOU STARTING SHIT AGAIN DAEMON?

DAEMEN SLAPS HER. THEN SHE HUFFS OFF TO HER CLIQUE, CRYING ABOUT HOW SHE IS BEING VICTIMIZED, AND HOW SYLVIA IS A PIECE OF SHIT. SYLVIA SEES NOTHING BUT RED, BUT SHE REALIZES THAT SHE IS UNNEEDED. BEFORE SHE CAN BREAK DAEMONS NECK, ONE OF THE PARTY GOERS GRABS HER WRIST.

SYLVIA THE PONY

( HEAVY BREATHING)   
  


ROGER SHAKES HIS HEAD. 

ROGER THE HORSE

DON’T. 

ROGER THE HORSE IS CLUTCHING SYLVIA, PREVENTING HER FROM RIPPING OUT DAEMONS THORAX.

ROGER THE HORSE

(VERY EMBARRASSED)

GOD. 

  
  
  
DAEMEN ATTEMPTS TO DANCE. 

SYLVIA

( THINKING TO SELF)   
  


THINK. THINK. WHO WHERE YOU HORNY TO WHEN YOU WERE FIFTEEN?

AN IMAGE OF ROGER THE HORSE FADES IN.

SYLVIA 

( EMBARRASSED)   
  


OH JESUS CHRIST. 

SYLVIA

( VERY EMBARRASSED)

OH GOD. NO. NO. 

SUDDENLY, THE YEARS OF MISCOMMUNICATION, AND REPEATING LYRICS, ( ASIGN OF ECHOLA) AND WRITING LYRICS OF THE FENCE OVER AND OVER AGAIN. 

SYLVIA

( VERY EMBARRASSED)

  1. NO. 

SHE GRITS HER TEETH. THIS FEELS VERY EMBARRASSING. 

SYLVIA

  1. I HAVE AN IDEA. 

SYLVIA EXITS THE GYMNASIUM DOORS. WE SEE THAT SHE RUNS INTO THE BASEBALL DIAMOND. THERE IS A CAGE FULL OF BATS. OFFSCREEN, WE HEAR ROGER THE HORSE NARRATING SYLVIA THE PONYS MOVEMENTS. 

TERRY THE DOG

( SOFTLY)

I THINK I’M BI. 

HE SHAKES HIS HEAD. DAEMEN SHAKES HER HEAD. 

TERRY THE DOG

( SOFTLY)   
  


DEAR, I THINK I’M ATTRACTED TO THE RACOON. 

DAEMEN

( ANGRY)

NO YOUR NOT. 

THE DOG GIVES A BRIEF SWALLOW AS HE ROBOTICALLY ACTS LIKE DAEMEN. 

  
  


TERRY THE DOG

( ROBOTICALLY)   
  


I AM GAY. 

DAEMEN GIVES HIM A SATISFIED SMILE. 

  
  


TERRY THE GAY DOG. 

( ROBOTICALLY)

( DEAR, I HAVE FOUND THAT I AM A HOMOSEXUAL DOG.)

  
  
  
  
  
  


BRIAN MEOW IS DISCUSSING GOING VEGAN.

BRIAN MEOW TALKING TO SYLVIA THE PONY. SHE IS RIDING THE BAT IN THE CORNER. 

BRIAN MEOW

( QUIETLY) 

WHAT ARE YOU EATING?

SYLVIA THE PONY

(BLUNTLY)   
  


EGGS. 

BRIAN MEOW BEGINS TO RELAX HIS BODY. HE BEGINS TO SMILE AS SYLVIA STIFFENS UP. HE GIVES HER A LIGHT LAUGH. SYLVIA’S CHEEKS BEGIN TO DEEPEN IN EMBARRASSMENT. ROGER LOOKS ON. THEN BRIAN MEOW GIVES HER A LIGHT KISS. SYLVIA BEGINS TO LOOK AT ROGER IN EMBARRASSMENT. ROGER LOOKS TOWARDS THE GYMNASIUM DOORS. HE LOOKS LESS THEN PLEASED with SYLVIA. 

SYLVIA THE PONY

…..

BRIAN MEOW IS SWARMED OVER WITH FAN GIRLS. 

SYLVIA

( CHEEKS TURNING RED)   
  


SUDDENLY THE TIME BEGINS TO SPEED UP. 

SYLVIA 

( EMBARRASSED)   
  


  1. I JUST GOT KISSED 

  
  
  


DEATH SCENE 1

DAEMEN AND SYLVIA ( BOTH FIFTEEN)   
  


SYLVIA BOPS HER WITH THE SILVER BAT.

DAEMEN

( VERY RAPIDLY)

I HAVE NEVER SEEN THE VOID SO CLEARER. 

SCREEN FREEZES. 

  
  


DAEMEN/ SYLVIA

IF I SLIT MY ARMS; 

SYLVIA

IF I HUNG MYSELF; WILL ANYONE PAY ATTENTION TO MY FUNERAL;

DAEMEN

OH, WHAT'S THE POINT;

SYLVIA

I'm AFRAID TO SETTLE FOR THE LIFE OF SELF HELP. 

DAEMEN

FOR I’VE NEVER WANTED TO DIE EVEN QUICKER. 

  
  


SYLVIA

I KNEW I SHOULD HAVE JUST ENDED IT MY FRESHMAN YEAR. 

DAEMEN

DAMN IT. 

SYLVIA 

NO ONE WOULD NOTICE A DEAD BODY. 

THE TWO OF THEM LOOK AT EACH OTHER. 

SYLVIA

( BITTERLY)

SHIT. I SHOULD HAVE JUST FIGURED OUT THAT HORIZONTAL MEANS ATTENTION. Vertical MEANS BUSINESS. 

DAEMEN

( IN HORSE FORM)

IS THIS MY LIFE NOW?

SYLVIA

MAYBE I SHOULD HAVE CHOPPED OFF MY MANE. CUT OFF EVERYTHING IN MY LIFE. 

the scene ends


	29. memories

**Summary for the Chapter:**

> memories ensue.

  
  
  
  
  


SCENE GLASS   
  


The year is 1993. Washington. D. C. Hotel. 

The cast is 13. In the seventh grade. This is brought to the abridgment of Roger, who is not happy with the new situation. 

ROGER

JESUS H, WHAT HAPPENED?

ROGER LOOKS AROUND THE HOTEL. He is not very happy with the situation. Sylvia brings out a photograph, and a lighter. SYLVIA proceeds to fold the photograph. 

SYLVIA   
  


D.C. 

One of these memories is not a very pleasant one. SYLVIA shudders as she looks at the hotel room. This is a representation of her fears. It is not her memory, but rather a false memory. 

DAEMEN   
  


You!

She is 13. Like the rest of the cast, she leans into SYLVIA. 

SYLVIA   
  


I didn’t even do anything! 

DAEMEN   
  


Yes, you did! 

She walks away from SYLVIA. 

DAEMEN   
  


Nothings my fault! You’re the reason I’m this way! This is why I don’t have any friends! 

The scene changes. 

  1. The entire cast is 10. 

DAEMEN   
  


Nothing is ever my fault! You're the cause! You pushed me down that snow hill when I was 10, didn’t you? 

The room begins to spin around and around. It begins to spin even faster. The scene begins to blur. 

SYLVIA   
  


Stop it! This isn’t right!

Now 10, she begins to think of a way of changing her thinking. 

SYLVIA   
  


Let’s see...

A brief clip of Slyvia and John as children is shown. They slide down the icy hill. Sylvia falls from the sled. She begins to cry, having fallen on some ice. 

SYLVIA   
  


We used to sled down that hill. 

DAEMEN is not happy with this. She begins to snarl, growling under her breath. 

SYLVIA   
  


THAT’s not my memory, is it?   
  


SYLVIA begins to smile. She thinks some more. 

SYLVIA   
  


Hehe...

  
  
  


  1. The cast is in their teens.

DAEMEN   
  


You called me QUEER!

A montage of DAEMEN being picked on is shown. SYLVIA runs through these memories, shaking them off. SYLVIA is amongst the group of teens. She runs through the people. Some of the clones are in the wrong period. 

SYLVIA 

That's not how it happened!

DAEMEN   
  


Oh? 

SYLVIA

Your the one that’s making those memories up! Your full of it DAEMEN!

DAMEN lunges at SYLVIA. SYLVIA runs into the locker. She takes a deep breath. She ducks under the people. Roger the horse calls after her. 

ROGER   
  


Keep running!

ROGER looks highly confused. SYLVIA proceeds to run through the High School hallway. The hallway proceeds to twist, and turn, looking like a jig-saw puzzle. Sylvia runs onto a locker, having seemingly defied gravity. The camera POVS onto to a camera.

SYD is running amongst her. She is running on to the community college ceiling. Now a young college student, she runs amongst him. The two college students keep running on to the ceiling. 

SYD 

Painter. You're a painter.

SYLVIA keeps running with him. She nods indicating that she is a painter as well. 

SYD 

How would you like it- if you keep painting?

SYLVIA   
  


Huh?   
  


Elsewhere, DAEMEN begins to yell after her. Having been rejected from honors, she is seen sleeping in her dorm. SYLVIA continues to run on the ceiling. 

SYLVIA   
  


Abandon my old lifestyle of chasing old musicians and getting nothing out of it, and focusing on my degree? 

  
SYD nods. SYLVIA keeps running. We see that she has been in an honor society. 

SYLVIA   
  


Wait!

2002

ROGER is running amongst her. 

ROGER   
  


How would you like to write?

SYLVIA    
  


Write? 

SYLVIA AND ROGER look very distinct. The two begin to keep running. More like galloping. 

the scene ends.


	30. The ritual of schml

**Summary for the Chapter:**

> rituals ensue.

THE monster. 

INT. THE BASEMENT. PRESENT DAY. 

WE pan to John the horse. Having cut off his friends and his family, he lies on the bed. On the bed, lies a shattered picture frame. An unused bottle of NyQuil lies near the floor. He turns around, having noticed the liquor bottles and the used bottle of NyQuil on the floor. It is indicated that JOHN will mix NyQuil, and liquor to numb the pain. Now sedated, he flops on to the floor. The room begins to swim as he stands up. We see that he is in pain. JOHN takes another swig of the drink, intending to drown out the pain. He flops over, having drunk enough Nyquil to knock out a horse. JOHN drinks another ounce of NYQUIL, mixing liquor and sedation. He stumbles over, trying to flop over, to stand up. His fans are only reliant, on him, cheering him on. It is a false reality he must rely on. The constant adoration of fans and the wonderful comments are written. However, the work is not done, indicating that the manuscript is not finished. What will it be tonight? A threat to off himself? He wallows in the miserable stench of NYQUIL and LIQUOR. A cut to a smashed picture frame indicates that JOHN is not on good terms with his family. Nor his friends. He swallows once more, drunk off his ass. He swigs another ounce of Liquor, flopping down on the bed. He can feel the transformation happening. He groans in pain as if indicating that the transformation from horse to the spider is occurring. He howls but swallows his pride. What was it? A mean comment? A snide comment from his teacher, his employer? What triggered his transformation in arachnid? He grimaces in pain, trying to bite back. Seems like years of therapy were like a band-aid being ripped off. He grimaces once more, trying to fight back from his stomach turning into flip-flops. On the bed, he looks at the ceiling, trying to find some meaning in the cracks of the basement. He swings the liquor, have been ignoring this pain in his stomach. His stomach urged, no, wailed, as he sat up in agony. His lips tremble from his fangs dropping into his lips. He moans, howls as if trying to find some way to numb the pain. 

JOHN

Help, please…

He sits up. He walks up to the basement door. His limbs are tearing, ripping like maggots to a slice of pig flesh. He collapses. 

JOHN

Not now…

HE collapses on to the floor. 

EXT. HALLOWEEN.Abuse. 

The next shot is him out of the house. What triggered it? The camera rushes by him as he runs out of the door. 

JOHN

( PANTING)

JOHN is now drunk from consuming a mixture of Nyquil and Liquor. The streets become hullincantory almost dangerous. The lights become blurry. The shadows become dark, dramatic, almost demonic. The film begins to slow down and begins to act almost sluggish. He runs some more. The streets stretch, almost looking inviting. The sunsets dangerously. Suddenly, it begins to snow. The sunsetting became almost ominous. As if realizing that he looks strange, John slows his pace. He walks amongst the others, looking almost normal. Except for the pedipalps forming on his lips. It seems as though the rest of the cast is unconcerned about JOHN’s whereabouts, not concerned about his WELL BEING. SFX of a doorbell ringing. 

The night begins to look weary. 

TRICK OR TREATER

NICE costume mister!

JOHN THE HORSE

Thanks. 

TRICK OR TREATER

NO problem!

The trick or treater hands him candy, unaware of the transformation ensuing. 

EXT. TOWN. NIGHTFALL. 

JOHN 

This isn’t my body, is it?

He thinks for a moment. 

JOHN 

What if I could pretend to be someone for once in my life?

JOHN sits in the bathroom contemplating his life. He begins to wonder how far he could go without getting caught. Would it be a few minutes?

JOHN

How long would I last in the night?

Midnight was only six hours. It couldn’t be that long, could it?

JOHN

Maybe if I could dress up for one night.

A pause. 

He sits in the stall, contemplative. Could it work? Could JOHN the horse risk dressing up as someone the opposite sex? And risk what? 

JOHN 

What do I have to lose? 

He sits up in the bathroom stall. 

EXT. PARTY. NIGHTFALL. 

JOHN THE HORSE IS WEARING A RED DRESS. 

JOHN the horse

Call me JOAN. 

The patrons. 

JOAN.

JOAN smiles at the patrons calling her by her proper name. For the first time in her life, she felt a little guilty. What would her parents think? ROGER slings in the foyer, wearing nothing but a lampshade on his head. SYD, on the other hand, is staring out the window, not paying attention. SYLVIA is dressed in a black suit, apparently going through a Beatles phase. ROGER likes the costume. So does the majority of the older participants of the party, much to Sylvia's chagrin. 

JOAN

WHAT'S going on?

SYD

ROGER is playing a weird game of tag. 

ROGER

Tag! Your it!

SYD

( laughing)

He’s bad at it. 

JOAN

( in the midway of transforming into a spider)

Is something wrong? 

The patrons appear quite shocked at her transformation. Cu on their shocked faces. SYD is staring quite horrified. ROGER does not pay attention, being quite drunk. JOAN turns to the mirror. Cu of spider wearing dress. SFX of a dress being torn off. SFX of gasps as JOAN is a little naked. 

JOAN

( panting)

Cut to SYD who shakes it off as being on acid. 

SYD

This is a weird trip. 

ROGER chases after JOAN, taking SYLVIA with her. 

ROGER

It was your idea! 

SYLVIA

What? I thought it was a good idea to bring SYD out!

ROGER

Do you think?

The two turn a corner. ROGER is highly incensed with SYLVIA. There is a scream of terror as the people begin to run.

SYLVIA

Well, what was I supposed to do? Leave him alone?

ROGER

Yes!

SYLVIA

So that you could take him to nineteen- dickty 

ROGER

( correcting)

Sixty-seven!

SYLVIA

Whatever! I’m not leaving him in front of the television!

ROGER

Is this your major concern right now? We have a giant spider wrecking havoc!

SYLVIA

( incensed)

yes!

SYLVIA and ROGER look at each other. Elsewhere, there are screams of terror. Chaos ensues. SFX of a scream. Close up of the giant spider tearing into flesh. Sweet succulent flesh. ROGER freezes and turns to SYLVIA. 

ROGER

WAIT! SYD!

He runs after the poor pony. SYLVIA grabs him by the arm. ROGER turns around and gives her a look of annoyance. ROGER attempts to struggle, out of SYLVIA’s arms. Elsewhere, a building begins to burn. There is a smashing of glass. Websites everywhere. Dead bodies everywhere. Somewhere, a priest begins to lock up his church. Little does he know that the GIANT SPIDER looms, dangerously. 

THE GIANT SPIDER

Help…

The priest turns around, expecting to see a giant spider. Instead, he sees a YOUNG WOMAN, limping in pain. SYLVIA runs to the priest as if to warn him. Confused, she stands as the young woman limps towards the priest. Without warning, the young woman crawls closer, even faster than before. The priest does not realize that this is a giant spider. 

PRIEST

Do you need help?

The priest comes closer. Thinking, SYLVIA attempts to rush to rescue the YOUNG WOMAN. THE YOUNG WOMAN GIVES A GRUNT. Without warning, she grabs a shard of broken glass. Horrified, Sylvia steps back. 

SYLVIA

Wait!

We cut back to the scene. SYD is seen staring out into space. HE doesn't notice ROGER running into the room. The room grows quiet. Quiet ambiance. Gradually pan onto SYD. ROGER stands behind him in anticipation. His eyes grow blank as if hypnotized. Cut to the backyard. CUT to everyone having abandoned the room. SYD turns, backs up slowly. He is afraid of ROGER. Not the clone, but the legitimate ROGER, who is established to be off his rocker.

ROGER

I’m not going to hurt you. 

SYD says nothing. He backs away from ROGER now frightened of him. ROGER walks towards him, robotically. SYD begins to slowly panic, having realized that his bandmate from 1967 is standing right in front of him. 

ROGER

Just come back to us. 

SYD shakes his mane, indicating that he does not want to come back. He backs away, still frightened of the bandmate. 

SYD

No. 

ROGER leans in, now uncomfortably close to the pink pony. A pan to the other room reveals that the clone of ROGER has been killed. We pan back to ROGER, hellbent on SYD. SYD backs away, repeatedly glancing at the backdoor. Ext shot of the backyard. It appears to be a quick getaway…

ROGER

( a little furious)

C’mon SYD. 

Without warning, SYD runs out of the room. ROGER runs after him.

ROGER

Come back here SYD. we’re not through with you yet. 

EXT shot. OUTSIDE. 

SYD runs out of the house. ROGER, having been a Clydesdale, tackles him. SYD and ROGER begin to struggle. A tight weight pushes down on SYD. SYD kicks back and rushes after him. SYD books it, having been more agile than ROGER, who goes after him. Due to being a thoroughbred, SYD is given the upper hand having been a racing horse. SYD says nothing as he runs through the trick or treaters. ROGER attempts to run after him, but he stops. 

ROGER

Oof!

SYD runs through the streets of normalville. Pan through people bumping into him. He crashes into some of the trick or treaters. This causes some angry shouts from some of the parents. We see things from SYDS POV. the streets begin to stretch and squish. The lights are too bright. His heart hammers in his chest. SYD continues to RUN. The lights grow even brighter. He runs some more. He continues to run through the streets, panicking about ROGER. ROGER also gives chase. WE are introduced to a NIGHTclub. SYD drops in, knowing that ROGER’s disinterest in general Schengen will prevent him from entering the club. The lights begin to pulse, like a disco beat. SYD glances at the bathroom. He looks at the welcome mat. He rushes in. The ambiance is loud to the point of being overwhelming. The lights are too bright, almost blinding. The taste of sweat and regrettable choices burns deeply. He looks at the couple in coutius. He looks around to reveal that the party-goers are engaged in detached vices, drinking, eating the works. We pan around seeing that the couple is not engaged. Almost as if in their world. SYD rushes into the bathroom. 

EXT. The party. NIGHTFALL. 

ROGER walks by, giving a whiff. He stops at the club. He appears disgusted at the shallow looking sign. He peeks in, then pokes his head out.he walks into the entryway. 

INT. NIGHTCLUB. NIGHT. 

Disgusting. The partygoers lean and swerve. The party-goers appear disengaged, looking as if they are detached from the real world. This is a byproduct of a multi-million dollar company. ROGER stands in disgust as he observes the loneliness of it all. As if to bury their feelings, and emotions with an unknown drug. One nude party goer walks by and stops, grinning at ROGER. A by-product of debauchery, she grins somewhat sexually at ROGER. We cut back to SYLVIA running back into the nightclub. SYD is seen heaving into the overly bright toilet. SYD appears disengaged as well. There is a silence as he stands up. The walls seem to melt along the floor. 

ROGER

SYLV, what are you doing?

SYLVIA

ROGER, where’s SYD? 

ROGER shrugs at this. She stares at the camera. 

ROGER

I don’t know. This world seems so foreign to me. 

SYLVIA

Wait, you’re a clone?

ROGER shakes his head. SYLVIA cocks her head, appearing heavily annoyed at the lack of response. We pan out to the crew, looking very alien. The environment is alienated. Almost surreal. We see the patrons seem almost dead. Like zombies. They morph into a mass of legs and arms. From the way the camera is pointed, the party-goers are like putty, looking less human, and more like goop. 

ROGER

I’m not telling you anything. 

SYLVIA

Oh, come on!

She looks around trying to think with all of the noise around. ROGER attempts to garner her attention as if trying to snap out of the daze she’s put herself in. ROGER lightly taps her, as if to redirect her. SYLVIA is taken in by the raw sexuality of the present-day scene. Coming from a more repressive dimension, she is taken back from the casual passerby. She looks at ROGER in bafflement. ROGER begins to speak up. 

ROGER

We need to talk…

SYLVIA

Oh?

ROGER begins to make several gestures indicating that he is trying to say something important. A montage of people lying on the couch, growing ever so distracted. Growing shallow, fake. 

ROGER

We need to destroy this dimension and all other dimensions before it. 

SYLVIA

Not this dimension. 

ROGER turns to the front of the door, looking highly aggravated. We see a montage of people eating fast food. Growing lazy, sloppy even. Getting fat. Becoming cruel. We see that the people are walking around as if zombies. We see commercialism taking over. 

SYLVIA

But why SYD?

ROGER

SYD is not of this dimension or this period. 

SYLVIA turns her attention to the bathroom. She walks over to the bathroom, being highly confused. SYD shouts. SYLVIA turns to face ROGER. She steps away from him, as if deep in thought. A familiar synth begins to play, distantly in the background. Like that show, from the 80s. The synth begins to intensify when SYLVIA raises her head and glances at ROGER. She appears highly alarmed at ROGER. 

INT. THE BATHROOM. NIGHT. 

SYD gives a large shout. 

SYD 

Don’t come in!

He sits at the bowl of the toilet. He grows worrisome. We cut back to ROGER and SYLVIA, looking at each other. 

ROGER

The blood sacrifice has to commence tonite. 

SYLVIA

Blood sacrifice?

ROGER indicates towards outside. Long ago the gods used to get along with each other. There was peace among them. Suddenly, that peace wore out. They went against each other's backs, lying. We cut to the debauchery of the gods, lying, stealing. Sort of like present-day America. We cut to SYD being tied down onto a medieval torture device. 

ROGER

This will destroy the universe. 

He hands out a knife. It glimmers discreetly. SYLVIA stares at him, then back at the knife. Knowing full well that he has a knife, SYLVIA stares back at him. 

SYLVIA

There’s got to be another way. 

SYLVIA thinks for a moment. Suddenly, she turns to ROGER.SHE thinks for a moment. Suddenly, she turns to ROGER. The bathroom lays behind her, seemingly miles away. The party-goers ramble about, zombie-like. The ambiance grows almost deafening. The lighting becomes very bright. 

ROGER

There isn’t. This isn’t giving some blood, we actively need a body. 

A beat. 

SYLVIA

Tell me about your father being shot down. 

We cut to ROGER sobbing into the entryway. He is sobbing. Several women are comforting him. JOAN arrives on the scene. She is furious. ROGER continues to blubber about his father. 

JOAN

You and your daddy issues. 

SHE makes several gestures at ROGER. She points to the entryway. ROGER, is showing mortification at the women comforting him. He begins to curl into a ball as if hoping that the women will go away. The women do not leave. Instead, they coo at him. 

WOMAN 1

It will be alright!

WOMAN 2

Just hang in there!

ROGER

Please leave. 

He curls into an even tighter ball. A short sob emits from the ball. The women coo over him, he comes up to breathe. He is now exposed to random strangers offering compliments. They hover over him, crushing his body, to the point he cannot breathe. The woman continues to blather on. 

WOMAN 1

We’ve got you!

ROGER, embarrassed from exposing his emotions, puts his hooves into his lap. This is punishment enough, having several strangers hover over him, telling him he will be alright. That things were going to be ok. He cowers as the females begin to back off slightly. The women squish him, even further. We cut to the nightclub bathroom. SYD is cowering in the bathroom stall. SYLVIA approaches. 

SYD

Don’t come any further. 

SYLVIA

Relax. I’m the-

A flashback. Past- Sylvia approaches TERRY THE HOMOSEXUAL DOG, in the lab bathroom. 

Past SYLVIA

Relax... I’m the-

(in unison)

PRESENT DAY SLYVIA/ PAST SYLVIA

… Good witch. 

SYD

Are you a good witch or a bad witch? Which witch are you?

SYLVIA laughs at this. 

SYLVIA

I don’t know. 

SYD is briefly distracted by the toilet. Then he looks at SYLVIA. He attempts to rush out the door, but SYLVIA stops him, by grabbing his forearm. This causes SYD to trip. He slips onto the bathroom floor. There is a beat. SYLVIA attempts to help him. SYD grunts in pain. There is a large shout coming from the outside of the bathroom. Several more shouts coming from the outside of the bathroom door. The shouting grows louder and louder. SYLVIA freezes. Searching for the lock, she clambers on to the bathroom door. The door bangs open, knocking SYLVIA on to her feet. WE are introduced to the control freak, who is intently focused on bringing SYD back home. 

SYD 

Just let him. 

THE CONTROL FREAK marches over to SYD. AS he snatches SYD, SYLVIA thinks to herself. A flashback has SYLVIA and SAM roleplaying. SAM leans in, manically laughing. Flash forward to the present. THE CONTROL FREAK looms over SYD, almost towering over him. SYD looks on helplessly as he is dragged out of the bathroom. Suddenly, another flashback comes back. Sharp laughter. SAM and SYLVIA are playing with cards. Role-Playing. Playing someone else. 

Past SAM

Ow! My manhood!

PAST SYLVIA smiles at this. She wants to say something else, correct SAM, by saying the correct word for male genitalia. But he insists on saying my manhood, in an autistic manner. Good witch, and a bad witch... Monotonous. Keep thinking. 

PAST SAM

ME: his stomach growls. 

More laughter. Slyvia thinks to herself. 

shot of SAM. The popular Youtuber is speaking. She is very charismatic, very pretty. Animation. 

YOUTUBER

Oh my god, this... Boy...

A beat. 

YOUTUBER

Weirdo. Was all like.. Stalking me... Acting like me… was like mimicking my movements… stood too close to me...I’m like all shook… What a weirdo…

“A shot of SAM is seen looking at the web page. His name isn’t SAM. His name is referred to as ACE.” but the outsiders know this is SAM. we cut to the pretty YouTubers pretty, the audience laughing at SAM’s antics. They turn on him, laughing and making fun of his antics. Commenting on his stalker-like behavior. A torn up photograph of SAM and SYLVIA indicates that they are not on good speaking terms. In an act of isolation, she tore up the photograph. The scene grows black and white, indicating that SYLVIA intercepts SAM’s actions as stalkerish, failing to understand that SAM is on the spectrum. Through the video, it is lightly implied that SAM, or ACE for that matter is probably on the spectrum. ACE innocently, or rather awkwardly tries to mimic the YOUTUBERS behavior in an attempt to fit in. His mother shows up yanking him away from the classroom. When he’s gone, the YOUTUBER laughs and talks about him in a negative light. We see that SAM is attempting to awkwardly speak to his friend. The friend shakes his head, indicating that he is already good friends with the POPULAR YOUTUBER. 

There is a pause. Sylvia thinks for a moment as if realizing what a piece of shit that Youtuber is. 

SYLVIA

I’ve made a mistake. 

She gets up. She leaves the men's bathroom stall. Outside we see the two convene. SYD begins to fight back but relents as ROGER drags him through the suburbs. His mane is white indicating that he has spent too much time out of his normal period. He appears much significantly older. 

ROGER

STOP STRUGGLING! We’re going to perform on the telly and you're going to like it!

SYD doesn’t budge. Instead, he glowers at ROGER walking through the Halloween suburbs. ROGER grimaces, but he keeps marching through the suburbs. Suddenly, he stops. The CONTROL FREAK takes over. He turns around, to face SYD. he keeps pushing through. Weeds and vines scratch his hooves. He grunts and keeps marching through. Finally, he finds himself in the cemetery. There is a primal structure. He grins, pushing onwards. SYD does not move. Several knives lie on the canvas, glimmering in the moonlight. 

ROGER

DAEMEN!

JOAN, now transformed into DAEMEN, looks at him. 

ROGER

How long is the time flex? I haven’t got much time left. 

DAEMEN

Not long. 

ROGER stops. He looks at DAEMEN, halfway expecting her to do something. The moonlight gleams on to ROGERs mane. The gods appear displeased. ROGER, in anticipation, looks at the gravestones. 

DAEMEN

ROGER, you’ve spent too much time outside of your time zone. After midnight, you’ll be nothing more than bones and dust. 

ROGER

I know!

DAEMEN frowns at this. ROGER glances at her, holding what used to be SYD. SYD has eloped. In other words, he ran off. 

DAEMEN

ROGER!

ROGER

Alright!

THE CONTROL FREAK takes over, rushing through the weeds. SYD, having eloped, rushes through the grass. THE CONTROL FREAK snatches him. SYD does not budge this time. SYD grows limp in ROGERs arms. Behind him, SYLVIA approaches ROGER. The camera pans to reveal that she is taking in ( and to an extent the audience) the abandoned cemetery. THE POPULAR YOUTUBER is tied to the primitive relic. SYLVIA says nothing as she realizes who is getting cut for that matter. 

SYLVIA 

SYD!

SYD looks up. To an extent, so does ROGER. Suddenly, without warning, SYLVIA rushes towards ROGER and SYD. WITHOUT, the two of them noticing, DAEMEN slices the popular YouTubers' arm. The popular YouTuber makes a shout. DAEMEN sucks the popular YouTuber dry. After this, the portal to another period opens in the ground. Suddenly, a bony hoof rises from the ground. There is a general shout as ROGER drops SYD the pony. SYD the pony falls to the grass. SYD the horse does not make a sound as ROGER approaches the hole. ROGER’S FATHER comes out of the hole.

ROGER

Daddy? 

The spider war soldier looks at him in astonishment. 

THE SPIDER WAR SOLDIER

Who are you? 

ROGER chokes back on his sob. 

ROGER

It’s me, your son. 

SUDDENLY, an orange paw pushes ROGER and HIS FATHER into the hole. ERNST the FOX is established to be that owner of that paw. 

EXT. The graveyard. PRESENT. NIGHT. 

ERNST THE FOX

SYLVIA!

SYLVIA rushes over to the hole. A hoof rises from the hole, with ROGER and his FATHER in tow. SYLVIA, out of nowhere, looks for a weapon. Thinking fast, she grabs the knife that ROGER was displaying earlier. SFX of the knife. 

ROGER

Ow!

Ecu of him biting some grass establishing that he is getting himself out of that hole. 

A beat. 

We smash cut to a quiet, blood-soaked cemetery. 

SYLVIA 

No one is rewriting the universe on my watch. 

She produces a silver necklace, with a clover on it. DAEMEN looks at it in horror. Ecu of the clock reading 11: 59. ROGER comes out of the hole, his father in tow. The two look mildly exhausted as if about to pass out. SYLVIA clutches the silver necklace, in deep thought. 

SYLVIA 

FINE. 

SFX of her watch going off. She closes her eyes, almost expecting death. Cut to black. 

… almost. 

Quiet. All is quiet with the exception of a baby wailing in the distance. SLYVIA opens her eyes, half expecting nothingness. Instead, what she finds, is...

Cut to an establishing shot of her in the cemetery. SYD emerges from the bushes, half-naked, with a shirt on. No pants. John has collapsed wearing a red spotted dress. He is completely covered in blood. Sylvia looks to her left and to her right. We pan back and forth. What is that sound? A baby cries offscreen. A montage of ROGER flashes, as she slowly opens her eyes. John coughs. Blood from his mouth splatters on to the grass. He opens his eyes, halfway expecting something. He wakes up, now drunk. John appears heavily disoriented. Death has not happened yet. 

SYLVIA

Huh?

She looks around. There is no one sans the group members...

And the baby in the graveyard. SYD clambers over the graveyards. He appears lost in thought. The baby in the graveyard ( unseen) continues to howl. SYD looks at the cry which is emanating from ROGERs clothes. He does not touch the blankets over. SYLVIA approaches the blankets. She appears somewhat hesitant at the moving pile of clothes. ALL THREE of the characters look at the pile of clothes, wondering what to do. SYD attempts to wander off, but he is yanked back by SYLVIA, who grabs him by the hoof. Ecu of the hoof grabbing SYD. slow zoom on the moving clothes. The two appear hesitant to grab the clothing. JOHN grabs the pile of clothes. The Three say nothing, as the camera cuts to a baby. The baby appears to be that of a newborn. SYD holds his breath, then begins to laugh wildly. The infant now frightened, cries. SFX of an infant crying. SYD continues to laugh, somewhat hysterically. The hysterical laughter is one of relief. He cackles, relieved that ROGER is gone. The baby continues to cry over his sharp, fast laughter. We see things from the baby’s POV. SYD and the crew look bigger. JOHN, still drunk, laughs along with SYD. SYLVIA is the only one not laughing. The laughter though is very contagious, and she begins to laugh along as well. Cu of SYLVIA’s watch which appears to read 12:15. The trio continued to laugh at the sight of the baby in the cemetery. The morning night is still dark, as it will be six hours until the sunrise. 

SYD

What about the baby?

SYLVIA

What about it?

The scene fades to black. We cut back to the trio, still carrying the baby, walking over to the bus station. There is blood on them. There is no laughter. Awkward glances. The three appear tired, almost to the brink of exhaustion. Outside the city, ravaged with destruction, renews itself. There is shattered glass, dead bodies. The streets are silent, almost eerie. No sound at all. Just three members walking home. The two look at each other, silently taking in the destruction. Pan around to the broken city. 


	31. Three ponies and a eldritch abomination

**Summary for the Chapter:**

> pretty self explanatory.

Pan around to the broken city.   
EXT. The bus stop. EARLY MORNING. 

The baby struggles in the blanket. SYLVIA looks at it. She looks at SYD. cut back to the baby. Cut back to SYD. 

SYD 

Excuse me?

SYLVIA looks at him. He gestures to the baby. SYLVIA glances at it. Cut back to the baby. The baby is sound asleep on SYLVIA’s lap. 

SYD

‘Is that?

SYD looks at the camera. He doesn’t bother answering his question. He looks at the window, seemingly lost in a fog. He glances at the baby. 

SYLVIA

I’m not taking care of it. 

SYD  
…..

JOHN cuts in. the two turn to him. Still inebriated, he struggles to enunciate his words. He wipes off the blood on his fur. The three are still covered in blood. There is some blood on the seats. SFX of the engine running. General ambiance. 

JOHN

We don’t have much time. 

The two of them look at him in shock. The baby stops struggling. 

JOHN

Soon it will be terrible twos. Then it will be tantrums. 

INT. BUS. early morning. 

SYD

Well, it’s just a wee baby.   
JOHN shakes his head. The two continue to look at him, in anticipation. SFX of the bus running. 

JOHN the horse  
It’s not just that?

Tantrums. Hair pulling. SYD avoids the two ponies, and continue to look outside of the window. Tantrums, and what else? The city goes by, a rush, a blur. 

SYD  
It’s not like you turned into a cow or something. 

JOHN shakes his head. SYLVIA looks at SYD and JOHN.

SYLVIA

It’s nothing like turning into a cow!

On her lap the baby squeals. It seemingly grows larger. 

SYLVIA

We dump it. 

SYD

( scoffing)

Dump it?!

This causes two elderly ladies to look at the two animals in shock. Shoulder shot of them turning around. An awkward pause as they display a look of utter disgust. SYD apologizes. Then he continues to glance at the window. He is spacing out. The city still appears to be utterly destroyed.   
  
EXT. The bus station. Morning. 

Bus stop. ECU of the door opening. Ecu of three sets of hooves, walking down the bus stop. Pan up to SYLVIA holding a toddler. The bus stops. Then it chugs along, making a large amount of noise. The child looks at the massive bus. It stares transfixed at the odd-looking monstrosity. No one pays attention to the odd-looking group. To the outside world, it appears as though they are a normal family. The child flinches, SYLVIA grabs him and bounces him on her lap. Cut to the bus driving away in the distance. Cut back to SYLVIA and the toddler looking at the bus driving away. We see that little repairs have been made in the city. 

SYLVIA

Bus.   
TODDLER  
Don’t patronize me. 

SYLVIA chuckles. Holding the small toddler in her arms, she turns to face her family. 

SYLVIA 

Wait a minute. 

She turns to face the SMALL child. 

TODDLER

Put me down. 

SYLVIA continues to hold on to the toddler. 

TODDLER

Don’t make me throw a tantrum. 

SYLVIA

No. 

EXT. OUTSIDE THE BUS STATION. MID-DAY

JOHN and SYD watch as the tantrum ensues. SYLVIA is shown disengaging from the situation. She gives a weary sigh. She tries to turn around, only to face SYD and JOHN shaking their heads. A crowd of defeated, almost zombie-like animals forms a crowd around her. Cut to their concerned looking faces. SYLVIA, embarrassed, obliges. They are already running out of time. She walks towards the entrance of the train station. TODDLER follows after her, chasing after her.   
  
EXT. house. HIGH NOON. 

It is several miles away from the household. SYD looks at the suburban household. It seems so familiar, and at the same time, it seems so distant. The house appears to be mid-turn of the century. SYLVIA holds the SMALL CHILD in her arms. ERNST looks on as the small child stares at the front door. The sign reads, CHILD DROP OFF STATION. The small child squints, at SYLVIA. Surely this is a mistake? An anamorphic dog opens the door. She offers ROGER a friendly hug. The child is confused by this friendly gesture, and scoots back, appearing afraid of the woman. The woman gestures further, indicating that she won’t harm him. SYLVIA interjects. 

SYLVIA

Don’t mind him. He’s been through a lot. 

The friendly lady continues to gesture further. Recently, the small child wanders over. She scoops him up in a huge hug. 

FRIENDLY OWNER

Don’t worry, we’ll take good care of him. At Generic friendly-looking orphanage..

There is a record scratch. The TODDLER, who we assume to be ROGER at this point... Looks at the camera in horror. There is a pause, as the small child takes in the news. 

TODDLER

Orphanage?

FRIENDLY LADY

Don’t worry, you’re adorable enough to be adopted. That means if * you are adopted* by the time you turn 18. Then we throw you out. 

Not knowing what to do, the small child is does nothing, but coldly stare at SYD. SYD remains quiet. JOHN. cured of his demonic possession, for now, remains calm.

JOHN the horse

Thank you for being very understanding. 

THE SMALL CHILD

John, you rat bas-

A pause as the adults look at the small child, who cuts himself off. 

THE SMALL CHILD

Basement. You rat basement. 

SYD turns his attention to the small child. Cu on him looking at the SMALL CHILD, and JOHN the horse in mild confusion. 

SYD 

Rat basement?

JOHN ignores SYD’s comment. We see him kneel. We cut to the SMALL CHILD, who looks frightened. Shoulder shot of the two looking at each other. 

JOHN  
The rat basement and I have to go now. 

THE SMALL CHILD says nothing. He turns to face the FRIENDLY WOMAN, who takes him inside the house. JOHN looks on. The moment grows quiet. SFX of the birds and the bees humming. Cu on the dew drops forming on the flowers. Without him noticing, SYLVIA walks up to him, glancing at the cold, emotionless child. SYD, now, even less afraid, walks up to the two characters.

JOHN

Is everything alright?

SYLVIA

Not bad, considering we retraumatized a small child, and essentially killed off someone for a blood sacrifice. 

JOHN turns to her. 

JOHN

You're acting strangely optimistic for someone who went through reparenting, and demonic possession. 

SYLVIA

But it was all for the greater good wasn’t it? 

JOHN turns around to face the exit of the orphanage. He laughs as he walks through the garden. 

JOHN

The greater good.

SYLVIA and SYD follow him. The camera tracks to reveal that he is walking towards a secretive path. One that is hidden from ROGER and to an extent us. 

EXT. The woods. DAY. 

JOHN

But what is the greater good? 

The two horses walk through the trees. SFX of leaves crunching. SFX of branches breaking. The lightning is natural. Some would call it naturalistic. The camera pans to the trio walking amongst the Forrest. JOHN turns to face SYLVIA. 

SYLVIA

How long do we have?

JOHN 

A few hours. Four hours at least. 

SYD backtracks a bit. JOHN lets out a laugh, then he turns back around. 

JOHN  
( addressing SYD)

Don’t run out of the woods. The small child will track you down. 

SYD follows along. The lighting is green, almost peaceful. The two make it out of the forest, and onto a smaller path. This is an establishing shot of the green peaceful forest. The two begin to immerse themselves in it. It is a quiet moment for SYD. a moment of peace for the blood-soaked trio. 

EXT. THE FOREST. DAY. 

JOHN

So how is everyone?

SYLVIA, still blood-soaked, sits on a log. She shifts a bit, indicating some form of internal struggle. 

SYLVIA

Well, RINGO the RACOON is still in rehab. The weird ponies have opened up some weird dimension.

An image of a wanted poster flies by, indicating that the trio of ponies is now on the run for summoning a dimensional entity. SYLVIA gestures to the back of the forest. 

SYLVIA

Well, meow, I think, ran off…

A shot of meow indicates that he is still happily working at the haunted ghost store. He is content to be working at a nine to five job. A robot shows up… about to eat him. MEOW hisses at the robot indicating that the robot is not welcome. The ghost possessed robot runs off, now frightened of the cat. 

MEOW

Boy, I sure love my new job!

An ECU of the button indicates that he likes working at that place. We cut back to the RACOON, who is still in rehab. He looks slightly better, having cut off the alcohol. 

THE RACOON

I love being sober. 

SYLVIA laughs. The three characters look at the woods. There is a silence as JOHN urges them further into the forest. SYD, in an odd moment of character, follows through. The movement is urgent. There is a slight sense of urgency. 

JOHN

  
Come now...  
EXT. the Forrest.

JOHN looks at the hidden tunnels. he urges that they enter the cave. 

JOHN

Hurry now...

SYLVIA steps through the cave. It begins to pulse, a bright blue. She enters through the trapdoor. 

SYLVIA

This seems a little dangerous. 

SYD happily comes through the cave tunnels.

SYD

Come on then. 

HE enthusiastically hops through the tunnels. There is a gradual pan to the entrance of the cave. 

SYD

Oof!

SYLVIA

Watch out!  
  
EXT. the entrance of the cave.   
A portal leers nearby. 

SYD

Look!

We pan to cave painting. Gently, he admires the cave paintings. There are stick drawings of people, rather ancestors. He admires it some more. The two characters are hidden from the outside world. 

SYD

SYL.

SYLVIA stomps over to SYD. SYD remains fixated at the beautiful cave wall. There is a shot of handprints. Hoofprints. An image of a horse resembling SYD lies next to him. 

SYLVIA

SYD.

SYD

Hush.

He turns to her. Not exactly mad, but rather gentle. He turns back to the cave wall. The stick figures lie behind him. 

SYD

Isn’t this beautiful?

He turns to the cave wall. He turns to her once more. 

SYLVIA

SYD, we should go. You know how explorative ROGER is. 

The two explore the cave, but after a few seconds, they return to the portal. SYD gives a little yawn, indicating he wants to go home. SYLVIA gently nudges him from the cave. 

SYLVIA

Are you ready?

SYD

Ready.   
The two go to the portal. They share one more glance before they glance back at the cave. ROGER is nowhere to be seen. We cut to a bright flash of light. No one says a word as the two characters jump dimensions. 

EXT. Chicago. Present-day. 

SYD

How long?

SYLVIA 

It shouldn’t be too long. 

SYD

The city is too busy. It’s too loud. 

We cut to the subway stop. It is dark and cramped. The lighting is too bright. 

SYD

Smells weird. 

SYLVIA

What does?

SYD

The whole train smells bad. Eggs. 

SYLVIA 

Eggs?

SYD

Rotten eggs. 

SYLVIA

Rotten eggs. 

SYD  
Like so. 

He covers his ears. The musician from the late 60s covers his ears. The train emits a large horn. He flinches as the train emits the horn once more. 

SYD

Loud. 

SYLVIA

Loud?

SYD covers his ears with his hooves. The ambiance is overwhelming. A large blast.   
  
The guy over the microphone

Bombard.

Another large blast. SYD nervously fidgets. The ambiance becomes overwhelming to the part of being unbearable. The camera cuts to the outside world. The SFX should be hellish at this point. 

SYD

Loud. 

SYLVIA sits up. SYD freezes in the city. ERNST walks into the room. 

ERNST  
How are things?

SYD   
Loud.

ERNST looks at him. 

ERNST 

Loud? Not louder then surviving the spider wars. 

TERRY   
( offscreen)

Nor the look of the whistle, dear. 

The two grow quiet. Outside the city becomes a blur. The ambiance softens a bit. TERRY walks on screen. He appears unconcerned, except being covered in blood. Shoulder shot of him being covered in blood. TERRY gives a small gesture, sitting next to ERNST.   
  
INT. Bus. DAY  
Offscreen, we hear ROGER narrate over the intercom. 

ROGER

Right then…

One of the characters, a white mouse, stands up. This is the FAY WHITE MOUSE who might be a homosexual. We cut back to the white mouse, who has appeared as a representation of... Shame.the camera pans to the white mouse who stands over SYD. The room is empty except for SYD. 

ROGER

Here we have the human representation of SHAME. 

SHAME begins to do portraits around the train. It is very cramped, and it isn’t very comfortable. 

SHAME

I am your SHAME. 

ROGER

SHAME begins to dance around the magical pony. 

SHAME, who proceeds to strip down to a red scarf. Very slowly, he rips off the red scarf. Ecu of SHAME. CU of SYD attempting to back away. 

SHAME

I’m always here, SYD. 

SYD

Away, you.  
  
INT. INSIDE OF TRAIN. DAY. 

ROGER

Here we have guilt, represented by Ernst. 

ERNST  
What do I have to be guilty of?

He stands up. 

ERNST

I told you…

ROGER

Here we have a poor bastard who has come from the great spider war.

ERNST

I have no idea what you're talking about!

ROGER

( tsking)

Poor bastard…

ERNST

I have no idea what you're talking about?

  
A beat. He sits back rather down violently. 

INT. INSIDE OF TRAIN. DAY. 

ROGER

( over intercom)

Here we have an addict. REPRESENTED by the RACOON. 

THE RACOON

I’m-

He laughs a bit. He swigs a bit of liquor. Panto the other passengers who appear to be a little disgusted by his actions.  
  
THE RACOON

An addict?

He sits back on the seat. 

THE RACOON

Me?

He takes a swig of the liquor and slouches over the train seat. 

THE RACOON

Not me.  
  
HE swigs down another bottle of liquor. The passengers continue to look at him in disgust.   
  
INT. Interior of TRAIN. DAY. 

ROGER

Anger. 

SYLVIA stands up in her seat.

SYLVIA

Oh no, he did not. 

ROGER

Which is internalized. 

SYLVIA, now incensed, stomps off to the interior of the car. We cut to the front end of the car. Cu back to SYLVIA. Cu to ROGER. Cu to SYD. CU to ROGER. CU to SYLVIA. Cu to ROGER. CU to SYLVIA. Cu to the front of the train. 

ROGER

Why hello John…

There is an SFX of a watermelon being smashed. We cut back to the passengers, who are visibly wincing as they overhear the punching ensue. 

ROGER

You can’t hit me! I’ve been through the post spider war! Stop that!

SYLVIA

Biotch, please. I’ve been through two divorces. I have emotional regulation issues. My cycle hasn’t started yet. 

There is a sharp scream as we hear something being ripped out. ROGER gives a painful yell. 

INT. Interior of the train. DAY. 

ROGER is now clearly holding his nose. It is bleeding rather professedly. 

ROGER

Now we have the shadow self. 

JOHN stands up. 

JOHN  
My turn. 

SYLVIA hands him, what are presumed to be cleats. 

ROGER

Try beating up a fascist. 

JOHN looks up at the intercom. 

JOHN 

Is that a challenge?

JOHN glances up at the intercom. Ecu of the intercom. Cu to the cleats. Cu to John who downs a bit of vodka. 

JOHN

Alright, I’ll kick his arse.   
JOHN

Ok?

Oh yeah/  
I am the emotional trainwreck/   
Who reeks of vodka, and cocaine/  
Nothing is my fault/  
Everyone is against me/  
They hate me/  
I am the greatest/  
The control freak/  
I look at all of your faces/  
Worn with scorn/  
I lick your tears/  
Off your cheeks/  
Defiant am I/   
Everything is justified/  
Tell me I’m great  
Tell me I’m the greatest.  
The control freak  
Fingers on the board  
Mouth open with vile  
I love it when I lie

Here we are introduced to the shadow self. The FASCIST archetype backs up along the train control board. We are introduced to the shadow self of JOHN, the emotional trainwreck or THE ADDICT. We close up to the addict, who is staring at ROGERs shadow self. 

THE EMOTIONAL TRAINWRECK

You first. 

THE FASCIST sits at the control board. THE EMOTIONAL TRAINWRECK rushes at the FASCIST, offering the first swing. THE FASCIST attempts to fight back. There is a scuffle. THE EMOTIONAL TRAINWRECK briefly morphs into the CONTROL FREAK. A flashback of JOHN at a table. His legs are trembling. We cut back to the present day. 

THE TRAINWRECK

Ah!

A scuffle ensues. The FASCIST rushes into THE TRAINWRECK. THE FASCIST rushes into the train control. He backs up.   
THE FASCIST

Usually, I’m not that violent. 

THE FASCIST tosses the TRAINWRECK out of the train car. SYLVIA watches as the TRAINWRECK stands up. The TRAINWRECK rushes into the car. SFX of Punching. SFX of whimpering. SFX of crying. We cut back to the TRAINWRECK standing over what used to be the FASCIST. SFX of continued punching. SFX continued whimpering. SFX of continued punching. A loud cry emits over the intercom. The passengers are visibly wincing as we hear a soft whimpering of the intercom. Cu on the intercom. It becomes a little uncomfortable. There is a savage beating. Cont. yelling. Cont. beating. We hear ROGER shout out for his mother. 

The scene ends. 


	32. Ambience

EXT. the highway. Illinois. DAY.  
SYLVIA and SYD are walking down the train tracks. The camera shows the two are walking down the abandoned railway. Behind them, the bustling city of CHICAGO is growing ever fainter, and fainter behind their solemn backs.   
SYD  
“How long until we go back home?”

We cut to SYD looking back to the city of CHICAGO, growing ever fainter.   
SYLVIA

“ Home?”

SYD nods. He is covered in dried blood from last night's activities. The two look at each other. We pan back to the two walking away from the city. The city appears to be tiny on the horizon. SYD is weary from traveling so far.   
SYLVIA

What does home look like to you SYD?

SYD

Mums place.   
SYLVIA

Mum’s place?  
SYD nods as if gesturing away from the city. 

EXT. Forrest preserve. MIDDAY.   
We cut to a Forrest preserve. SYD and SYLVIA are walking through the woods. We pan through the trees. The trees blur. The lighting is natural. The two characters step over the logs, sticks. All is quiet. SYD is surprisingly not running away this time. SFX of crunching. The two are alone.   
SYD

What is home?  
  
SYLVIA

You know, we go home.   
  
SYD  
And that’s it?  
  
SYLVIA

Yep. We go home.   
  
SYD looks at her in astonishment. Surely this can’t be, right?  
SYLVIA  
( repeating herself)  
We go home SYD.   
EXT. Village. MIDDAY.  
SYD is talking amongst some witches. He appears curious, albeit a little afraid.   
Witch  
I’ve sensed you’ve been here before.   
SYD glances at her nervously. Cu of the witch. Cut back to SYD. Cut back to the witch. Cut back to SYD. Cut back to the witch. She comes back with her stick. She bops SYD on the head.   
SYD  
That tickles.   
We see a montage of the three magical ponies kicking roger out of the studio. The blue pony, now infuriated with ROGERs antics throws him out into the street. The pink pony gives him a hoof. Which if you remember correctly is the human equivalent of giving the middle finger. There is a slam of the door. SYD gets bopped again.   
We see another montage of ROGER shaking his hoof at the band members. He cackles as he attempts to sue them in a fit of paranoia.   
Another bop.   
We see John the horse beat the ever-living shit out of ROGER. Roger is finding himself getting beaten up. Cu of the hoof. Cu of rogers face. Cu of barbie hand slapping ROGER. Cu of barbie. We cut back and forth to ROGER getting remarried and divorced.   
Another bop.   
We see another montage. The colorado state flag. SYD lives in a ranch, happily living in a house. SYD shakes his head. This seems already pointless. He could never live by himself. We cut to a knit blanket. SYD is sitting in an abandoned colorado ranch, being treated with medical marijuana.   
Witch  
Wouldn’t you like that SYD?   
the scene ends. 


	33. Chapter 33

**Summary for the Chapter:**

> the last chapter.

EXT. shot. Machine. unknown/ abuse

Sam wakes up from a cocoon. SFX of RIPPING. ECU of wires protruding from his feathers. Ecu of wires plugged in a machine. BEHIND SAM is several people in a cocoon-like state. Asleep. CLYDE from the first scene is in front. We cut to SEVERAL WHITE WOMAN being tied down. The vampires that are straight white men are sucking the blood of several white women. ECU of fangs. Ecu of monitors. Wires are crisscrossed SAM’s back. He is sticky with substance. 

CLYDE   
  


( offscreen)

Wake up sam. 

SAM   
  


What’s going on?

We cut to a straight white male, cu to the fingers crossed. We see a montage of pure corruption ensuing. We see clips from politics ensuing. People tapped in monitors. Animals starving. We cut back to CLYDE. The scene is dark, momentous. There is a humming of a radiator in the background. We cut back to the wires being simutiationsly being ripped out of sam. SAM is briefly groggy. He moves about trying to feel around his environment. 

SAM

Who are you?

Before CYLDE can answer, he looks to his right. Below, SAM, still unaware of his surroundings, moves about. CLYDE puts a hoof to his lips signaling that SAM should remain quiet. SAM splashes about, naked in the machine. Suddenly, the floor beneath the cocoon gives away. SAM shouts. We go to his perspective. He looks like horror before he drops below the floor. We see him fly through the chute. He continues screaming as he slams onto a metal floor. The camera pans up to CYLDE who is not decked out in psychedelic clothing, but rather a suit. SAM groans before turning his head onto the floor. 

Cut to black. 

Credits. 

Silence. 


End file.
